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SOUTH AMERICA— First large the- 
atre circuit alarms Buenos Aires exhibitors » 

FRANCE— Industry acts to resume 
progress interrupted for year » » » 

GERMANY Fees for studio, record- 
ing, and negative take one-third of produc- 
tion budget » » » » » » 

theatres is Prague's solution of space costs » 


CHINA— Sniping by eight different cen- 
sorship boards troubles distributors » » 

ENGLAND British industry faces mul- 
tiple problem of governmental control » » 





You^ll see it often from now on! 


BIG %nM 

Washington, Feb. 19- 

. film tare "^1^000 
Phi-ase film to 
something '^^^^^town l^ouse v^ij^^ 
patrons of ^ow' milkman to en 
'^"^.'^Xee donu*. toast and GaW^_ 

fZr"^^^^ *-!^.rctpitat's first 
, ,.,r rain 

"^"^^Tovefnment hours arent 


"A/ter Office 
Hours*' heats 

in 16 out of 20 
opening en- 

|i yven ^fjQ gal- 

11 long. fpoture went oi?' 5_oOO 

^^'^^^ had disappeared. ^gek, 
-•^toV^^^omg o.e th 

with three I^o^^a j,ver A?^- • at 
the sl^efef ^.Aft^- ^ict that 

'.sr^^FoX despite the tac^t^^^ 


■ FOX turned *et^^ '^^'ee d""^^' 

■ Hours, ^"^tnast at T-*"J: ballyed 
' '■ ^^'^ .=i?ore opening. Stunt-^^ ^^.^ 

l^f .hefofe%%VT-en. an out as 

Customers a>.o^^\",,e pic 
V.ralWng ads on ^^^.^ y/^ek 

Estimates fo> 2B-35-60)- ,, 

i Fox (Loew) (^'t,**.' (MG) ^nd I 
I L nfflce Houis V venlaced 
I'Atter 0™4°ett Marshall ^fP'^ita 
r-^"^®;t minute on fage.^^ Sock 
VhapUn, which hurt. 
Grey S'"'^^ ' iic, though l? 000.1 
oampaign on pi"-' v,eautifui 
1 v^-oss toward a oea 5.35.(50)— 
"'palace <Loew> (2,3%^ . Busting 
,j3avid Copperfield U ^ prob- 

able (too 
I won a P'l^ '^^^^i ^^^^ 




Sensational N* Y. Premiere Matched by Bo 







of course 


No wonder Ann's turnin 

Look what New York papers say about 

"'Sweet Music' a hit, Rudy Vallee a star! Three rousing 
cheers for Warner Bros." — N. Y. American 

"Rollicking, tuneful, hilarious. A Rudy which should 
send the Vallee Fan Clubs into ecstasies." — Mirror 

"Rudy's most ambitious and most promising picture." 

-^Daily News 





Congratulations from 9,000 
Happy First-Nighters to Rudy and 


Ned Sparks . Helen Morgan 
Robert Armstrong . Allen 
Jenkins . Alice White . Joe 
Cawtborn . Al Shean . The 
Connecticut Yankees . Frank 
& Milt Britton Band . The 
Six Famous Composers 
Bobby Connolly and 

and "Sw 


9toii,Washingtoii, Portland, and Other Keys 




leet Musk" has made Rudy Vallee! 


CENTURY, ROCHESTER: Outgrossing 'Bright Eyes' 
Xmas week engagement by 25 per cent. First 
five days beat entire 'Bright Eyes' week! 

RKO PALACE, ALBANY: By far biggest opening 
of any Fox picture this season. 

KEITH'S DAYTON: 50 per cent bigger opening 
than 'Bright Eyes.' 

FOX, PHILADELPHIA: Opening 2 days big- 
gest of season. .. practically equal 4 days of 
'Bright Eyes' (including Xmas!) 

and-neck with sensational 'Bright Eyes' 

FOX, ST. LOUIS: Opening day beats 'Bright Eyes' 
record-holding Xmas Day. 

STATE, RICHMOND: Far ahead of 'Bright Eyes' 
which played larger- capacity house. Manage- 
ment looks to at least 3 -week run. 




A B. G- DcSylva Production with 


Directed by David Butler 
Screen play ahd adaptation by William Conselman 
Based on the story by Annie Fellows Johnston 



Vol. 1 18. No. 9 


March 2, 1935 


PILED high under our left elbow is an array of press clippings 
about the motion picture. Across the land are some two 
thousand-and-odd persons with access to printers' ink who 
are willing to commit themselves to print with opinions about 
our art and Industry. In a fashion, the repute of this industry 
is made by what they say. Examination of their printed com- 
ment reveals that few of them see pictures, but that many, 
many of them, being typical editorial writers, re-write and 
comment upon what someone else has written, or more likely, 

Now the painful fact Is that the problems of the motion pic- 
ture arise not so much from the persons who see them as from 
the persons who read about them. Continually we are con- 
fronted by opinions on pictures, on block booking, on censor- 
ship, on this and that by persons who get their entire informa- 
tion from what somebody said in somebody's paper about what 
somebody wrote about what he heard from somebody. Mean- 
while there is a theatre In his town. 

Part of a very considerable part of the motion picture's 
problem arises from the fact that a large number of writing 
persons, across these United States, have to do a piece every 
day for their paper or their syndicate of papers and that the 
ubiquitous motion picture is always leading with its chin. It 
will be a great day for the screen when its publicity becomes 
somewhat less automatic. 


THE much regretted passing of Leo — the Lion — of Metro- 
Goldwyn-Mayer leads us to wonder what may have been 
the fate of that game and gorgeous golden winged 
rooster Mr. Pathe, which we introduced to the world as the 
first sound trade mark at the dawn of the new art. Mr. Pathe 
was a stubborn cuss. The recording of his trade mark crow 
tied up a studio for half a day and cost more than a thousand 
dollars. He went to a number of conventions after that but he 
never worked again. He may be a feather duster by now. 


MR. WALTER PRICHARD EATON, that estimable 
Yankee critic who has just become head of the Yale 
drama department, all of a sudden begins to view 
the motion picture with alarm and with wide attentions for his 
alarm In the daily press. 

The motion picture "feeds on the brains" of the stage 
according to Mr. Eaton and he is all of a twitter over the 
expectation that presently there will be no stage and that 
In consequence there will be no pictures either. 

We hasten to offer Mr. Eaton reassurances. The stage he 

is contending for is merely a relic art form in which drama was 
presented by repeated reenactment merely because of the 
lack of a medium of record and reproduction. That old stage 
will linger quite a while yet under the patronage of old con- 
servatives and their Imitators. It may be observed also that 
a few wealthy old ladles In New York still ride on the avenue 
in horsedrawn carriages. 

It is rather common now to observe the exponents of old arts 
and technologies screaming that they are abused when the 
fact Is that they are merely outmoded. 

The fact that the motion picture through the early years of 
sound has been borrowing heavily from the plays and personnel 
of the stage is no warrant for the alarmed assumption that the 
screen will continue unweaned and presently find Itself helpless. 
It will evolve what It requires, as always. 


THE Herald's flow of exhibitor mail these days reflects 
a considerably Intensified attention to the content of 
screen wares and their import as social documents. 
"I know that a great many small town exhibitors, like my- 
self, are of the opinion that the Decency campaign and its 
effect on production has attracted new faces to our theatres," 
writes Mr. Joe Crivello of the Lyric theatre In Gillespie, Illinois, 
enclosing a carbon of an acute letter to the producer of a 
release to which he was taking exception. 

These new people In the theatre, Mr. Crivello points out, 
are sharply critical, sure to be moved to adverse comment by 
"little suggestive scenes slipped through." 


A REPORTER for the New York Times, writing of the 
return of "Green Pastures" and Mr. Richard B. Harri- 
son to Broadway's stage, remarked In closing: "... the 
Lawd's understudy has never had a chance to play the role. 
When Gabriel shouts the dramatic cue, 'Gangway, gangway 
for de Lawd God Jehovah,' it is always Harrison who responds, 
a living embodiment of the monotheistic idea." What the re- 
porter really meant was "afro-anthropomorphic Idea." 


THAT dextrous philosopher who advised women past forty- 
five to run the movies, Dr Walter B. Pitkin, has spawned 
another book entitled "The Art of Relaxation," announced 
for May by Simon & Schuster. Relaxation properly begins In 
June. Meanwhile the announcement does not make It certain 
whether this Is a sequel to Dr. Pitkin's big "Outline of the His- 
tory of Human Stupidity," or his "More Power to You." We 
were born relaxed, it's a gift. 


Incorporating Exhibitor's Herald, founded 1915; Motion Picture News, founded 1913; Moving Picture World founded l™7;M°tography founded 1909; Th^^ Film Index, 
founded 1906. Published every Thursday by Quigley Publishing Corripany, 1790 Broadway, New York City. Telephone Circle 7-3100. Cable ?f ^uippubco, New 
Martin Quigley, Editor-in-Chief and Publisher! Colvin Brown, Vice-President and General Manager; Terry Ramsaye Editor; Ernest A. Rovel tad ^p"'^'"^ R^l^ "Vj^us^ ^^I0 
Bureau. 407 Vuth Dearborn Street, Edwin S. Clifford, manager; Hollywood Bureau Postal Union Life Buildmg Victor M. Shapiro manager; London Bureau Remo H^^^^^^ 
Regent Street, London W I, Bruce Allan, cable Quigpubco London; Berlin Bureau, Berlin-Templeho , Kaiserin-Augustastrasse 28, Joachim K. Rutenberg, representahve Par s 
Bureau, 19, Rue de la Cou -des-Noues, Paris 20e France, Pierre Autre, representative, cable Autre-Lac.fra -20 Pans; Rome Bureau, Viale Gorma, Rome, Italy, Vittorio Malpassuti. 
representative. Italcable, Malpassuti, Rome; Sydney Bureau, 600 George Street, Sydney Australia, Cliff Ho t, ^«P^«%"t?.t'^^; ^ 'Rnr^^'lO C™'^^ V^lla G^en 

Mexico James Lockhart representat ve; Prague Bureau, Na Slupl 8, Prague II, Czechoslovakia, Harry Knopf, representative; Cape Town Bureau, 10 St George s Villas, Green 
PoTn CaprTown,' South Africa! H. Hanson.^epresentatlve; Budapest Bureau, 3, Kaplar -u, Budapest """g^^V, . Endre Hevesi representative; Buenos A^ Bureau Cuenca 52, 
Buenis Aires, Argentina, N. Bruski, representative. Member Audit Bureau of Circulations. All contents, copyright 1935 by Quigley Publishing Company Address all corre- 
spondence to the New York Office. Better Theatres, devoted to the construction, equipment and operation of theatres, is published every fourth week as section 2 of Motion 
Picture Herald. Other Quigley Publlcationi: Motion Picture Daily, the Motion Picture Almanac, published annually, and the Chicagoan. 



March 2 . 19 3? 



American distributors temporarily have 
withheld their Intended withdrawal from 
Mexican activity, at the request of the 
Mexican government. Distributors had de- 
clared they would leave the country if 
taxes were not reduced. No action was 
taken by a new government and when dis- 
tributors indicated they would withdraw, 
the government asked for more time, 
promised reduction for 1935. The distribu- 
tors ask retroactivity, reductions to affect 
1934, as well. . . . 


From the Associated Press comes a 
London dispatch noting that British pro- 
ducers have declared war on Hollywood 
competition, plan activity to force equal 
distribution with American product. Brit- 
ish International and Saumont are re- 
ported to have spent $17,000,000 lately 
buying theatres in England, Gaumont $12,- 
000,000 of the total. Both already own 
several hundred British theatres. . . . 


Arthur L. Mayer, independent of Para- 
mount, has signed a 20-year lease on a new 
Broadway Rialto, an 800-seat house to be 
built on the site of the present Rialto, 
which he operates. Total rental will reach 
$1,000,000. Demolition of the present 
house is expected to begin in April. Base- 
ment rotunda entrances to three subway 
lines, a box office there, rotunda stores, 
balcony and roof garden to be operated 
by a "nationally known restaurant," will 
feature the theatre. For the first time In 
17 years Paramount will have no hand in 
Rialto operation. ... 


The New York offices of Hal Roach, 
MSM comedy producer, backed by the 
Collegevllle Flag and Manufacturing Com- 
pany, plans formation of 1 ,000 exhibitor- 
sponsored "Our Gang" baseball teams 
this year. The tieup will begin when the 
major leaguers start southern training. . . . 


MGM Is reviving its former practice of 
executive production conferences on major 
Issues like Important talent, story purchase, 
production policy. The conferees: Louis B. 
Mayer, Irving Thalberg, David O. Selznick, 
Eddie Mannix, Ben Thau, Sam Katz. . . . 


Trans-Lux may build an experimental 
short subject theatre in London In an ar- 
rangement with Norman Hulbert, operator 
of British newsreel theatres. . . . 


Loew's, inc., has doubled the annual 
dividend rate on common stock. The board 
declared a 50-cent quarterly payment, 
comparing with 25 cents previously, pay- 
able March 30 to stockholders of record 
March 15. Since March, 1933, the 25-cent 
dividend has been paid. Prior to I933's 
first quarter the annual rate was $3. . . . 


RKO Radio will deliver a minimum of 46 
features this season, and plans between 
45 and 50 productions for 1935-36, last 
week declared Ned E. Depinet, president 
of Radio Pictures Distributing Corpora- 
tion, on his return from the studio. For 
this season 21 had been delivered to Feb- 
ruary. The annual convention will be held 
in late June or early July. . . . 


Only 36 of 2,161 films examined by the 
Ontario, Canada, censor during 1934 were 
rejected entirely. Of the total, 1,309 were 
approved as submitted, 816 were revised 
before acceptance. For the first time of 
record, one of the 150 British films was 
rejected completely, while 39 required de- 
letions. In sum, 108 British films were 
passed In 1933, comparing with 149 In 
1934, an Increase of 41. . . . 

In This Issue 

The MPTOA Convention Page 9 
Pictures of Delegates Page 12 
Registered at New Orleans Page 37 
Antitrust activity on three fronts Page 15 
Sound-on-film adopted for radio broad- 
casts Page 16 
State legislatures hammer away at film 

industry Page 49 


Editorial Page 7 

The Camera Reports Page 33 

The Cutting Room Page 50 

The Hollywood Scene Page 25 

J. C. Jenkins — His Colyum Page 70 

Productions in Work Page 60 

Asides and Interludes Page 31 


What the Picture Did for Me Page 71 

Showmen's Reviews Page 54 

Managers' Round Table Page 77 

Technological Page 62 

Short Features on Broadway Page 76 

Letters from Readers Page 75 

Chicago News Notes Page 76 

The Release Chart Page 85 

Box Office Receipts Page 66 

Classified Advertising Page 90 


Differences in Denver settled, RKO will 
take over on March 15 the Orpheum from 
Harry Huffman, who had refused to vacate, 
threatening to force RKO to court action. 
RKO had lost the house when bondholders 
had foreclosed, but later making payment, 
met Mr. Huffman's refusal to vacate, he 
contending payment was made too late, 
and holding a contract to buy the house 
from the bondholders, subject to redemp- 
tion action by RKO. . . . 


Republican Dr. Ben Paul Sandy, dentist, 
has been appointed by Republican Gov- 
ernor Harry Nice, to succeed Democrat 
Bernard Gough as chairman of the Mary- 
land state censor board. He has seen a 
few pictures each year, promises a fair 
deal, but remembering his first duty is to 
the public, not the exhibitor, he says. . . . 


Important motion pictures, as well as 
college dramatic efforts will be shown at 
the planned new theatre to be erected on 
the campus of Stanford University, Palo 
Alto, Calif. Building plans have been ap- 
proved, the theatre to cost more than 
half a million. . . . 


George P. Regan and Albert R. Day, 
San Francisco engineers, have perfected a 
process by which they claim English speak- 
ing players may be presented on the screen 
speaking any foreign language perfectly. 
The method is based on a system of Eng- 
glish code words producing lip movements 
conforming to the desired foreign lan- 
guage dialogue. International Cinema, 
Inc., has been formed to commercialize the 
process. . . . 


Mrs. Emily Wakeman Hartley, of Green- 
wich, Conn., died last week In New York, 
age 62. A former actress, she owned and 
operated the Stamford theatre, Stam- 
ford, Conn., from 1914 to 1927, one 
of the country's few women theatre 
operators. Retiring from the stage In 
1913, Mrs. Hartley realized an ambition 
when she built the Stamford. . . . 


Effective March I, George Palmer Put- 
nam, eastern editorial chief, will leave 
Paramount after three years. It is reported 
he will be associated with the production 
of several expedition films. Former pub- 
lisher, Mr. Putnam headed an expedition 
several years ago for which Pathe held ex- 
clusive film rights. . . . 

March 2. 1935 




Drop Code or Simplify it, Speak- 
ers Urge; Cancellation and 
Clearance Concessions Seen 
as Aim; Rosenblatt Defends It 


The grievances that once made many is- 
sues at conventions of the Motion Picture 
Theatre Owners of America were bitterly 
grouped under a single name — the code — at 
the 1935 meeting at the Roosevelt hotel in 
New Orleans this week. Convention pic- 
tures appear on pages 12 and 13. A part 
list of the 500 attending is on pages 37 and 

The demands ranged fronn its reduction 
to a few words, to its complete abolition. 
The only realistic hope, however, was that 
the clamor would reach Washington and 
prepare the way for the rewriting of some 
portions. Cancellation and clearance issues 
were particularly emphasized. 

Practically alone in defense of the six- 
months' old document was NRA Compli- 
ance Director Sol A. Rosenblatt, who, after 
fearing he would not be able to leave 
Washington, finally arrived in New Orleans 
on Thursday, the closing day, to brave the 

Preceding the first business session, on 
Tuesday, the directors reelected Ed. L. Kuy- 
kendall president, and returned all the other 
officers except that Morris Lowenstein of 
Oklahoma City was chosen to replace E. G. 
Levy as secretary. Mr. Levy continues as 
general counsel. 

Although this convention could not very 
well lay claim to complete national represen- 
tation — the very section in which it was held 
being but sparsely represented — the attack 
on the code and its administration came 
from every principal geographical division 
of the country. 

Jack Miller Starts It 

Jack Miller, of Chicago, characteristically 
began it, and was so quickly followed by 
other exhibitor leaders that something of a 
demonstration developed and thereby fore- 
stalled efforts to postpone discussion until 
the later appearance of Sol A. Rosenblatt, 
NRA compliance director. Mr. Miller's 
opposition was comprehensive. He demanded 
that the code be reduced to a few words, 
these to deal principally with wage scales 
of theatre labor. His attack sounded the 
keynote of code opposition, the others add- 
ing the contention that this industry was 
unfitted for blanket regulation because of the 
local and specific nature of its problems. 
The criticism of the Code Authority itself 
and its administrative organization really 
\\'as based on this fundamnetal condition of 

"Unless the Code Authority surrenders in 
favor of local autonomy," declared Morgan 
A. Walsh, of San Francisco, "we ought to 
throw out the code in its entirety." 

Chief among the local problems which 


Jack Miller, president of the Chi- 
cago Exhibitors' Association, has come 
to the conclusion that the motion pic- 
ture code should be relegated to the 
ash-heap, or, as he put it Tuesday 
at the MFTOA convention in New 
Orleans, "give it back to those Indians 
we worked with in Washington." 

"What has the code done for us 
nationally?" he asked the assembled 
exhibitors and executives. "I thought 
when you wrote it we were going 
places, and now I've discovered if you 
go those places you'll do it so long 
you won't have time to run your thea- 
tres. We wrote the code with the 
most intelligent men in the business — 
if that means anything, and I don't 
know that it does. We were promised 
that if we took care of labor, ti/e'd be 
allowed to run our own business. It 
hasn't happened. Let's call the code 
off. Let's not change it, but give it 
back to those Indians we worked with 
in Washington." 

Mr. Miller has somewhat of a repu- 
tation as a "fire-eating" orator. 

the Code Authority was called incapable of 
meeting were those of clearance and can- 
cellation. Mr. Walsh said that 36 anti-block 
booking bills in state legislatures were the 
direct result of the 10 per cent cancellation 

"In Los Angeles there were banners call- 
ing for clean pictures, and we conferred 
with the producers on this, but nothing came 
of it." 

Mr. Walsh pointed to the Legion of De- 
cency campaign as the result of this failure 
of the producers to heed the warning. 

Continuing the attack on the cancellation 
clause and clearance, Jules Michael of Buf- 
falo proposed passage of a resolution asking 
President Roosevelt to let the industry re- 
turn to its own methods when the code ex- 
pires June 30th. 

"For seven years we have been working 
for reasonable cancellation and clearance, 
and we got behind the code and paid our 
share in the hope that it would give us 
relief. It has not given us relief," he said. 

Robert Wilby, of the Valatenga circuit, 
charged that the 10 per cent cancellation 
clause was to come as a reward for ex- 
hibitors if they came to the support of 
the code, and charged further that the 
distributors actually had instructed their 
exchange managers to see that their 
theatres did not get the right to cancel 
as provided for. 

Harry S. McLeod, president of the Gulf 
States Theatres Association, and general 
chairman of arrangements — although his 

Kuykendall, Reelected, Pleads 
for Policy of Tolerance, At- 
tacks Bank Nights; Double 
Featuring Issue Also Raised 

Association is not a member of the MPTOA 
— said that all the code meant to him was 
higher wages. 

Ben Berinstein, Los Angeles, likewise 
charged that relief had not been forthcom- 
ing and advocated dropping the code. 

With a lengthy recital of malevolent 
trade practices, Mr. Kuykendall, making his 
annual report Tuesday, practically did the 
very thing he wishes to avoid : brought the 
code on the floor of the convention before 
Thursday. The code being so certainly re- 
garded by those assembled as the current 
fountain from which all industry evils flow, 
his presidential report released energy long 
pent up. 

Oil on the Fire 

Mr. Kuykendall's tendency to be lenient with 
the Code Authority and temperate concerning 
the code itself, had the effect of pouring oil on 
the fire. 

Answering reports that a "gag" rule would 
prevail, Mr. Kuykendall declared an hourly 
open forum would prevail, confined to national 
issues, but even this limitation was objected to 
and the president was forced to extend the 
original order to embrace all exhibitor prob- 

During the discussion following Mr. Miller's 
heated attack on the code, Mr. Kuykendall 
denied he ever had said he was for the code. 
In his report, however, he declared that the 
code gives the industry "a place to go." 

"Those very persons who condemn the code 
in its entirety," he charged, "are those who 
ran out in Washington long before any code 
was written." 

Asks for Tolerance 

He called for a policy of tolerance, of give 
and take, and correction as the code's defects 
asserted themselves, and paid tribute to Mr. 
Rosenblatt as one knowing the film industry 

"If the code is wrong, let us change it," he 
recommended, "but let us not by subterfuge and 
evasion try to confuse the issues as some are 
now doing." 

In connection with the presentation of his 
report, but not as a part of it, Mr. Kuykendall 
extemporaneously paid his respects to Will H. 
Hays, president of the Motion Picture Pro- 
ducers and Distributors of America. 

"I have not always agreed with him," said 
Mr. Kuykendall, "but I know he is trying his 
best for exhibitors as well as producers." He 
added it was his belief that there should be a 
closer understanding between the MPPDA and 
independent exhibitors. 

Among the smaller of these exhibitors 
the code premium clause and the ban on 
prizes are principal sore spots, yet Mr. 
Kuykendall recommended in his report 
continuance of MPTOA opposition to such 
methods, including that on so-called "bank 

He followed this with a frank expression of 
his opinion in favor of block-booking as the 

(Continued on followinq paac^ 



March 2, 1935 


(Continued from firecedinp fiape) 

only economical means of permitting exhibitors 
to buy pictures. This, he said, was especially 
true of those not within easy reach of screen- 
ing facilities. 

To double featuring, however, he recom- 
mended unalterable opposition, and charged that 
some producers were actually making certain 
pictures at especially low cost for booking on 
the same program with other productions. The 
percentage system came in for criticism chiefly 
on the grounds that the distributors were get- 
ting unreasonable in their demands. 

Cites Legislation Menace 

Referring to the Government suit against the 
American Society of Composers, Authors and 
Publishers, Mr. Kuykendall said the MPTOA 
was not interested in having ASCAP dissolved, 
but that theatre owners should seek an amend- 
ment to the copyright laws protecting exhibitors 
innocently guilty of infringement. Reviewing 
exhibitors' recent agitation to ward off in- 
creased fees demanded, and obtained in part by 
ASCAP., Mr. Kuykendall asked whether there 
is anything to prevent the Society from de- 
manding a percentage of a theatre's daily re- 

"Taxes, legislation, unfair and discriminatory 
regulation are perhaps the biggest menace we 
have as an industry," Mr. Kuykendall declared. 

Asks 20% Cancellation 

As to cancellation, Mr. Kuykendall said that 
after close contact with thousands of exhibitors, 
he felt the real answer is a more reasonable 
cancellation privilege in contracts, "about 20 
per cent." 

"It would relieve many exhibitors and give 
them a chance to operate at a profit, where as 
it now stands they are bound to take a loss 
on many objectionable pictures," he said. "And 
I warn you to remember what is objectionable 
in one community may be acceptable in another. 
The present 10 per cent cancellation clause has 
proven a dud. It would have been helpful had 
the distributor played fair, but he used every 
subterfuge to evade it." 

The MPTOA president outlined the 
"proper" principles on clearance and zon- 
ing demanded by the organization, to be 
based on geographical zones, film rentals, 
and admissions. The MPTOA, he ex- 
plained, does not believe fair and equi- 
table clearance and zoning can be ob- 
tained unless admission price charges are 
taken into consideration. 

Mr. Kuykendall criticized exhibitor organ- 
izers, who, he said, are working to the detriment 
of the industry in general. He also sharply 
criticized non-theatrical competition, calling it 
"partly the fault of theatre managers, because 
the theatre on the average is not properly en- 
couraging friendly relations between the various 
organizations, particularly the aggressive ones 
like the American Legion." He advised the 
delegates to use discretion. 

Family night programs, Mr. Kuykendall said, 
should not have a "beautiful short with a sexy 
feature," and exhibitors should be careful in 
combining their features so that condemnation 
will not be brought down upon the industry 
by presenting the wrong attraction at a family 

Walter Vincent, in a letter to the convention, 
opposed double featuring, approved of block 
booking, protested against score charges and 
demanded 25% cancellation privilege. 

M. A. Lightman, former president of the 


Eight standing committees named 
at the MPTOA convention to route 
exhibitor problems for the sessions 

Jack Miller, chairman; J. K. Dennis- 
ton, Charles Segall, R. B. Wilby, 
George Nasser. 

Morgan A. Walsh, chairman; Morris 
Lowenstein, J. H. Michael, Mack 
Jackson, W. F. Ruffin. 

George A. Mann, chairman; William 
Benton, L. E. Thompson, Fred J. 
Dolle, Louis Ansell. 

M. A. Lightman, chairman; Ed. M. 
Fay, O. C. Lam and H. C. Buchanan. 

MUSIC TAX — Lew en Pizor, chair- 
man; A. Julian Brylawski, Charles E. 
Williams, Joseph H. Brennan, Sol E. 

TION — George A. Giles, chairman; 
George P. Aarons, Barney Dubinsky, 
H. V. Harvey, Fred Pickrell. 

Wehrenberg, chairman; Sidney Lust, 
William Landers, Roy L. Smart, Will- 
iam Benton. 

chairman; B. N. Berinstein, R. X. 
Williams, Jr., Jay Emanuel, L. S. 

MPTOA, urged audience classifying of pic- 
tures in newspaper advertising. 

Election of officers was the first official 
piece of business, directors meeting Mon- 
day evening and returning to office: Vice 
presidents M. E. Comerford, Scranton; M. 
A. Lightman, Memphis; A. Julian Brylaw- 
ski, Washington; B. N. Berinstein, Los 
Angeles; W. S. Butterfield, Detroit; and, 
Treasurer Walter Vincent, New York; Gen- 
eral Counsel Edward G. Levy, New Haven, 
and Chairman of the Board Fred Wehren- 
berg, St. Louis. 

Morris Lowenstein, president of the 
Motion Picture Theatre Owners of Okla- 
homa, was named secretary to succeed 
Fred S. Meyer, who had resigned to be- 
come an assistant to Carl Laemmie at 
Universal City. 

The executive committee which made the 
nominations included : Mr. Kuykendall, O. C. 
Lam, Sidney Lust, J. H. Michael, Jack Miller 
and L. E. Thompson. 

Directors also were reelected, these including : 
Mr. Kuykendall, William Benson, Mr. Berin- 
stein, Joseph Bernhard, ExJ Fay, Frank Free- 

man, George Giles, Mr. Lam, Charles Picquet, 
Mr. Lowenstein, Benjamin Pitt, Mr. Lust, 
William Quigley, Mr. Michael, Ed Schiller, 
Mr. Miller, Lewen Pizor, Mr. Thompson, Judge 
Roy Walker, Charles Williams, Morgan Walsh 
and R. X. Williams, Jr. 

Opening the business sessions in the Roose- 
velt Gold Room at 2 p.m. Tuesday, H. S. 
McLeod, general convention chairman, intro- 
duced the Reverend D. H. Whattley, rector 
of Grace Episcopal Church, New Orleans, who 
delivered the invocation, and Theodore Mi. Sim- 
mons, vice-president of the Association of Com- 
merce, who made the welcoming address. A. J. 
Brylawski responded, turning the gavel over 
to President Kuykendall, for the keynote speech. 
Edward G. Levy followed. 

Regional Cooperation Urged 

Cooperation among regional associations is 
vital, said Mr. Levy, general counsel, reading 
the secretary's report. 

Mr. Levy assured the delegates that no or- 
ganization can take the place of energetic and 
aggressive individual effort in theatre manage- 
ment, in buying, booking and merchandising 
motion pictures and that the MPTOA "does 
not attempt to do these things for you." 

"But MPTOA has succeeded — where others 
have failed — making substantial progress 
toward bringing about fair trade practices, 
fairer exhibition contracts, home rule for the 
determination of controversies by local boards 
and sensible self-control within the industry." 

Mr. Levy said the MPTOA is not dominated 
by self-seeking professional exhibitor or- 
ganizers, "nor controlled by the chronically 
unsuccessful, irresponsible and unscrupulous 

Fred Wehrenberg, chairman of the board, 
reporting Tuesday for the committee on public 
relations, said films have been found by com- 
munity leaders to be "not in general filthy and 
vile and an offense to the community." 

"These cooperating community leaders," he 
said, "knew that even at the so-called worst 
period in pictures at least 75 per cent of all 
product was entirely unobjectionable from any- 
body's standpoint, and that much of the criti- 
cism of the remaining 25 per cent was a 
matter of opinion." 

Physical Theatre Emphasized 

Attention given the physical phases of the- 
atre operation constituted one of the most in- 
teresting parts of the business sessions Wednes- 
day. The morning session was given over 
entirely to theatre building and its mechanical 
facilities. No previous MPTOA convention 
has gone so far, according to observers, in 
acknowledging the essential participation of 
the engineer in the business of selling motion 
picture entertainment. 

The session brought the Society of Motion 
Picture Engineers into the deliberations of an 
owners' convention for the first time through 
a paper by Homer G. Tasker, president of 
the S.M.P.E., and read by Herbert Griffin, 
sales manager for the International Projector 

"I stress theatre engineering because 
it is so completely forgotten," Mr. Tasker 
wrote. "It is to the advantage of the ex- 
hibitor and engineer alike to keep the the- 
atre running smoothly and turning out a 
product for which the public is eager to 
exchange its dollars." 

Robert O. Boiler, architect, of Kansas City, 
demonstrated the application of new methods 
in design of layout and decorations to improve 

(Continued on follominf) pane) 

March 2 , 1935 



(Continued from precedinp paqe) 

sight lines, overcome poor traffic conditions 
and bring theatres up to date. 

J. T. Knight, of Paramount Theatres Service 
Corporation, said that "for economical operation 
it is particularly important that each theatre 
be well organized to look after its own main- 
tenance as much as possible." 

W. C. Brown of the General Research De- 
partment at Nela Park dwelt chiefly on asso- 
ciation of illumination with architectural and 
decorative treatment. 

Mrs. F. J. Block, vice-president of the Amer- 
ican Federation of Organizations for the Hard 
of Hearing, Inc., said exhibitors made a mistake 
in installing hearing devices in the rear and 
side seats. 

Selling Pictures Discussed 

Wednesday afternoon brought to exhib- 
itors a firsthand description of the methods 
and procedure for advertising and selling mo- 
tion pictures, as suggested by advertising and 
exploitation experts of large distributors. On 
hand for the forum, from New York, were 
the advertising directors of Metro-Goldwyn- 
Mayer, Howard Dietz ; Paramount, Robert 
Gillham; United Artists, Hal Horne; Fox 
Film, Charles E. McCarthy; S. Charles Einfeld, 
Warner Bros. 

Mr. McCarthy urged advertising protection 
for current stars since the industry has so 
few growing stars. Mr. Einfeld scored exhib- 
itors for failing to take advantage of adver- 
tising counsel available in New York and to 
cooperate more closely with local newspapers. 
Mr. Gillham proposed that exhibitors forward 
suggestions on advertising and tieups. 

Exhibitors have long protested the type of 
press books and exploitation campaigns sent 
out of home offices. 

The remainder of the business program up 
to adjournment late Thursday afternoon em- 
braced the following subjects: 

"How to Market the Literary Type of Pic- 
ture" : E. C. Rhoden, general manager. Mid- 
west Theatres, Kansas City. 

"The Theatre's End of the Better Film Bar- 
gain": Roy L. Smart, North Carolina Theatres, 
Inc., Charlotte. 

"My Experiences with Family Night Pro- 
grams" : M. A. Lightman, Malco Theatres, 
Inc., Memphis. 

"How to Sell the Finer Pictures" : Lupton A. 
Wilkinson, Advertising Advisory Council, New 

"Film Delivery Problems and Service" : 
James P. Clark, Philadelphia, president. Na- 
tional Association of Film Carriers. 

"Our Problems in Local Legislation" : Hon. 
Roy L. Walker, Lampasas, Texas, president, 
Theatre Owners Protective Association of 

"Theatre Admission Taxes and Other Taxes 
Pertaining to Theatre Operation" : L. W. Rob- 
ert, Jr., Washington, assistant secretary of 
the U. S. Treasury. 

John C. Flinn, Code Authority secretary, 
and Sidney R. Kent, Fox Films, had had to can- 
cel addresses because of business pressure. 

Distribution Executives on Hand 

New York distribution executives took ad- 
vantage of the concentration of buying power 
and converged early on convention headquar- 
ters, the Broadway sales contingent including 
James R. Grainger, Universal ; John D. Clark, 
Fox ; Felix Feist, MGM, and Jules Levy, of 
Radio. Thirty or more salesmen were also 
on hand. 

Mr. Grainger and his divisional sales chiefs 
held a convention of their own. He let it be 
known that Universal will sell 36 features and 

six westerns in 1935-36, and will have its an- 
nual sales meeting in New York in May. 

Delegates learned that Warner, RKO and 
Fox already were quietly selling 1935-36 prod- 

National Film Carriers, Inc., also held an 
independent convention. President James Clarke 
presided. Clint Weyer, secretary, said there 
were pending in 44 states a total of 850 bills 
inimical to film trucking services. 

Equipment dealers, too, participated. Equip- 
ment exhibits showed the product of Le Roy 
Sound, Rochester ; Webster Electric, Racine, 
Wis. ; Operadio Manufacturing, St. Charles, 
111.; Projection Optics, New York; American 
Seating, General Register, National Theatre 
Supply, Electrical Research, International Pro- 
jection, National Carbon, National Screen, 
Railway Express Agency, RCA Photophone, 
Motion Picture Screen Resurfacing, Motion 
Picture Advertising Service and American Dis- 

The Photophone booth contained a new type 
speaker arrangement which provides for a 
special horn and baffle. National Screen es- 
tablished a studio in the Roosevelt and made 
talking pictures of the conventioneers. W. L. 
Conrow, representing Erpi, explained Western 
Electric's new theatre equipment consulting 

New Orleans' Mardi Gras holiday spirit pre- 
vailed but it did not submerge convention pro- 
cedure as did the studio influence at the meet- 
ing in Hollywood last year. However, Holly- 
wood paid virtually no attention to the con- 
clave this time. W. S. Van Dyke, Metro 
director, attended in connection with tjie show- 
ing of his "Naughty Marietta," and Nelson 
Eddy was also on hand. Committeemen openly 
expressed the belief that Hollywood^ especially 
Paramount and MGM, had ordered their play- 
ers not to participate. Bing Crosby, Wallace 
Beery and W. C. Fields had been expected. 

Thursday brought honors to MPTOA lead- 
ers from the New Orleans Association of 
Commerce, which gave a luncheon to President 
Kuykendall, Vice-president Brylawski, General 
Counsel Levy and Board Chairman Wehren- 

The New Orleans Item, local evening news- 
paper, devoted a "Special MPTOA Edition" 
to the opening on Monday. 

Virtually all delegates on hand for first 
registration on Monday participated either in 
the golf tournament at the Metairie Country 
Club, or in the sightseeing tour arranged by 
the New Orleans committee. The same evening 
in the "Tip Top" room atop the Roosevelt 
hotel was given the President's reception. There 
was an "01' Man River" party and cruise 
aboard the Mississippi River steamer Capitol, 
Wednesday evening. The social highlight, of 
course, was the annual MPTOA banquet at 
the Roosevelt Thursday night. 

Kansas City Moves to Break 
Insurance Claim "Racket" 

With the expressed aim of smashing the 
"fake" damage claim "racket" which has 
been thriving in Kansas City and has forced 
up liability insurance rates almost prohibi- 
tively, the local Chamber of Commerce is 
preparing to set up an independent bureau 
to correct the evil. Theatres figure promi- 
nently as victims of the racket. 

The bureau, to be financed by business 
men most affected, will work towards carry- 
ing out 17 major recommendations pre- 
sented in a voluminous report of a special 
insurance committee of the Chamber of 

Code Authority Is 
Scored by Yamins 

While the national Motion Picture The- 
atre Owners of America was meeting in fif- 
teenth annual convention at New Orleans 
this week, various state and local exhibitor 
organizations at home were ironing out their 
own problems. 

In Columbus, the Independent Theatre 
Owners of Ohio, meeting for its second an- 
nual convention, heard the motion picture 
Code Authority attacked by Nathan Yamins, 
described as the "only independent exhibitor 
member" of that body, who declared that 
independent exhibitors stand no chance 
against affiliated theatre men because seven 
Code Authority members are MPPDA mem- 
bers and an eighth, whom he did not name, 
is "in the pay of the Hays office." 

Mr. Yamins, who is an Allied vice-presi- 
dent, apologized to the Ohio ITO for having 
been a member of the board and of the 
MPTOA executive committee when it was 
organized in Columbus in 1927 and for again 
serving in 1928. 

"The code is good in theory, but not in 
practice," said Mr. Yamins. "Yet, despite 
the fact that it contains many things which 
are not justified and omits others which are, 
nothing finer than the code has come out of 
Washington in the past 12 years." 

In New York this week, the Theatre 
Owners' Chamber of Commerce and the In- 
dependent Theatre Owners' Association 
dropped their policy of friendly cooperation 
with Loew's and RKO, severing a working 
arrangement of long standing on both legis- 
lative and union problems. Lack of support 
from these circuits was given as the reason. 
It was revealed a faction of Brooklyn and 
Manhattan exhibitor members of the ITOA 
will oppose the reelection of Harry Brandt 
to the presidency. Nomination of officers 
was scheduled this week. 

In New Orleans, reports that the Gulf 
States Theatre Owners' Association would 
decide to affiliate with the MPTOA circu- 
lated anew this week with announcement of 
the resignation of Harry S. McLeod as 
president. Mr. McLeod's resignation may 
take effect this week, at the organization's 

Rolan Joins Staff 
Of 'Time' Newsreel 

Ralph Rolan, for the past seven years ac- 
count representative with Batten, Barton, 
Durstine & Osborn, has joined the staff of 
The March of Time as vice-president in 
charge of advertising and promotion for the 
new screen feature, "The March of Time." 
This announcement was made Wednesday 
by Roy E. Larsen, president of The March 
of Time, Inc. 

For the past three years Mr. Rolan has 
handled the Time magazine account and since 
last December, when The March of Time 
was launched, he has been in charge of pro- 
motion for the screen feature. 



March 2, 1935 



Vhotos by Harry £. Nicholsy 

MIDDLEWESTERNERS. Standing: J. B. Luskin, L. C. Hehl, L K. 
Anseli, Si. Louis; Sam Komm, Collinsvilie, HL; A. C. Mercier, 
Perryville, Mo.; A. C. Matreci, St. Louis. 
Seated: Mrs. Mary Rudolph, Chicago; 
Mrs. Komnn, Fred Wehrenberg, St. Louis; 
Mrs. John Kiefner, daughter of Mr. Mercier. 

CHARLES SEGALL, of Philadelphia, a 
LOUIS NIZER (above), counsel of the Film veteran of exhibitor organization activities. 
Boards of Trade, with his booK on the code. was a busy participant in deliberations. 

AMOUNT. Robert B. Wilby of Atlanta 
and his other partner, Mrs. Wilby, took 
an active part in proceedings. Mr. Wilby's 
circuit is in the Southeast, principally in 


H. J. and JULIAN HARVEY, exhibitors, San Francisco. 

March 2 , I ? 5 5 




iLD Field Representative 

LONGHORNS. From Jefferson Amusement Company in Texas 
came Julius and Sol Gordon and Joe Clemmons. 

BUSINESS. (Below) Ed Kuykendall of 
Columbus, Miss., reelected president of 
the MPTOA, talks it over with Ed Levy, 
general counsel of the MPTOA, with 
offices in New Haven, Conn. 

FELIX F. FEIST, general sales manager of 
Metro-Goldwyn-Mayer, was on hand early 
and followed with close interest the dis- 
cussions on the floor of the convention as 
well as outside the meeting rooms. 

BROTHERS. Harry Thomas, president of 
First Division, and Dave Thomas, producer. 

H. R. BERRY, Hartsvllle, S. C; M. F. SCHNIBBEN, Florence. HAROLD ROBB and ED ROWLEY, Texas circuit operators. 



March 2. 1935 


Association of 3 1 Buenos Aires 
Theatres Will Book Pictures 
and Vaudeville; Friction and 
Suspicion Follow Move 


Btienos Aires Correspondent 

South America's first important circuit of 
exhibitors, an organization essentially a 
booking association, has just been launched 
with 31 theatres in Buenos Aires enrolled 
and Argentina's theatre men are wondering 
what will happen next. Consorcio Argen- 
tino de Espectaculos (Argentina Theatrical 
Consortium) is the name of the circuit, 
whose activities will be directed by an ex- 
ecutive council presided over by Augusto Al- 
varez, with Clemente Lococo as treasurer 
and Antonio J. Sturla as secretary. 

The Consortium has defined its objec- 
tives as follows : 

1. To organize and prepare motion pic- 
ture and vaudeville shows for exhibition in 
the theatres under its control; 

2. To contract for, acquire or rent 
through regular channels all necessary 
pictures and talent; 

3. To develop its activities through 
methods which it believes most efficient, 
making the shows as popular as possible, 
conforming to a high standard of moral 
content and following artistic and cultural 
principles to be of credit to the associa- 

4. To assure the producers or distribu- 
tors of films and agencies for films, artists, 
directors and authors, the fulfilment of all 
deals contracted with the association. 

The Consortium will have full control 
over all showings in the member theatres, 
with ownership of one-half the exploitation 
rights of each house. The 31 theatres are 
owned by 16 exhibitors. 

Tieup with Iberica Films 

The Consortium theatres will show all 
the motion pictures produced by Iberica 
Films in Spain of which John J. Letsch 
is president. Indeed, Mr. Letsch, for- 
mer manager for Metro-Goldwyn-Mayer 
in South America, was the originator of 
the plan, and he has been appointed repre- 
sentative of the Consortium in Europe. Mr. 
Letsch had placed the idea in operation in 
Barcelona but the organization in that coun- 
try no longer exists. With the same gen- 
eral plan he placed the proposal before Mr. 
Alvarez, who approved the agenda and im- 
mediately started the wheels turning. As 
European representative Mr. Letsch will 
have as his responsibility the selection of all 
vaudeville numbers that in his judgment will 
prove drawing attractions in South America. 

The agreement will be made effective on 
May 1, 1935, and will last for one year, fin- 
ishing on the very day that all the associates 
will have shown the last of the contracted 

Immediately after, and in accordance with 


As its contribution to the inter- 
national cinema festival now being 
held in Moscow, the Soviet industry 
has presented its talking screen ver- 
sion of Jonathan Swift's famed satire 
of eighteenth century England, "Gul- 
liver's Travels", with the hero a 
crusading Pioneer, or child Com- 
munist, and Lilliput a "bourgeoise 
capitalist" community. 

With puppets as the players, u/ith 
the exception of one child actor who 
plays Gulliver, the film recounts the 
manner in which, eventually, the 
proletariat of Lilliput rises in its 
might to establish a proletarian dic- 
tatorship and overthrow the capital- 
ist regime. American animated car- 
toons suggested the technique em- 
ployed, with the puppets used instead 
of drawings. 

the results, any one of the associates will 
have the right to withdraw from the com- 
bination or remain therein, in which case 
the agreement will be renewed for a longer 

In due time, and after the withdrawal of 
one or more members, the remaining ones 
will decide whether the entity shall continue. 

The agreement stipulates severe penal- 
ties to which will be subject all the asso- 
ciates who should not faithfully fulfill the 

Membership Restricted 

Another clause specifies that no additional 
associates will be admitted, except that only 
in the case of emergency, brought about by 
competition, would the arrangement be 
altered with admittance of one more show- 
house under the exclusive control of the 

Every associate has transferred to the 
chain 50 per cent of the exploitation rights. 
At the end of the first year, the profit that 
remains will be divided among the associates 
in proportion to the capital of each one. 

Each of the showhouses will be run di- 
rectly by its owner, with the exception that 
the ticket offices will be responsible to the 
executive committee of this entity. This 
committee will also be in charge of the rent- 
ing of the films and all other requirements 
of the showhouses. 

Formation of the circuit produced the 
wildest rumors, and some exhibitors fell into 
a state of panic fearing impairment of re- 
lations with the distributors. 

As consequence of these rumors, it was 
said, further chains would be formed, but 
when the natural confusion had been dis- 
sipated the owners of the remaining mo- 
tion picture houses made a public statement 
to the effect that they would maintain their 
absolute independence, and had no inten- 

Entire Executive Committee of 
Exhibitors' Association Re- 
signs; Charge Distortion of 
Facts by Consortium Paper 

tion whatever of linking themselves into a 
new circuit. 

Nevertheless, and irrespective of all that 
is publicly known of the Consortium, the 
amalgamation of so many individual inter- 
ests into one unique body of motion pic- 
ture exhibitors has created friction and sus- 
picion among Argentine showmen. 

Executive Committee Resigns 

Two days after the announcement that 
the Consortium was a fact, the Exhibitors 
Society had its weekly meeting and all the 
members who belong to the Consortium 
were openly advised that the executive com- 
mittee no longer could continue, not only 
because the statutes of the Society allow 
one representative for each enterprise, but 
because formation of the chain had broken 
the equilibrium necessary to all trade rep- 

This interpretation of the statutes pro- 
duced the resignation of the entire execu- 
tive committee of the Exhibitors Society. 
New elections were called, and the members 
of the circuit neither voted nor accepted of- 
fices of executive capacity. Both sides have 
explained their position. A trade magazine, 
property of one of the members of the Con- 
sortium, naturally favors this entity in en- 
thusiastic manner. A comment of the maga- 
zine was followed by resignation of three 
members of the newly formed committee, 
which has asked for a boycott against Film, 
the magazine in question, on the basis that 
it has deliberately distorted the facts and cre- 
ated confusion. 

Although the circuit will not begin func- 
tioning until 1935, it has been the cause of 
many misunderstandings and the breach is 
expected to widen. 

Examine Extra Lists 

A Code Authority committee, composed 
of W. Ray Johnston, Harold S. Bareford 
and J. Robert Rubin, met in New York 
Wednesday to examine the registration list 
recommended by the standing committee on 
extras in Hollywood before the Code Au- 
thority acts on it Thursday. The list con- 
tains 1,004 names. 

Hauptmann Case Discussed 

The Motion Picture Club of New York's 
regular weekly Forum on Tuesday listened 
to a discussion of the legal and newspaper 
aspects of the Hauptman trial by Samuel 
Liebowitz, criminal lawyer ; Alexander Ka- 
minsky, assistant district attorney, and Jack 
Lait, writer and editor of King Features. 

Seymour Leaves Warner 

James Seymour, ajsociate producer for 
Warner for the past two years, resigned this 

March 2, 1935 




Kansas City Independents Name 
Committee to Prepare Case; 
St. Louis Exhibitor Charges 
Film Stoppage Conspiracy 

Independent exhibitor dissatisfaction over 
alleged unfair treatment received in trade 
practices and procedure from large dis- 
tributors and affiliated circuit interests was 
further expressed this week in Columbus, 
Kansas City, Milwaukee and St. Louis, add- 
ing to the discontent already voiced, in legal 
form and otherwise, in Chicago, Los An- 
geles, Philadelphia and elsewhere. 

The Independent Theatre Owners Asso- 
ciation in Kansas City was preparing an 
antitrust suit on its own, and at the same 
time considering petitioning the Govern- 
ment for a federal investigation of local 
trade practices of circuits and distributors. 

Directors of the Independent Theatres 
Protective Association of Wisconsin and 
Upper Michigan, in special session at Mil- 
waukee, voted to ask the Government to 
investigate distribution-circuit trade prac- 
tices in that territory. 

In St. Louis, the Abraham Lincoln Amuse- 
ment Company sued Paramount, charging 
restraint of trade by denying first-run 
product to the Odeon theatre. 

Governor Davey of Ohio assured the 
ITO of Ohio convention at Columbus of 
an investigation of distributor practices in 
the state. 

Independent owners in Los Angeles and 
in Philadelphia continued to talk freely 
about federal trade practice investigations 
expected by them in those sectors. 

In Chicago hearings began in the anti- 
trust action filed early in the month by 
Jack Rubin of the Public theatre and James 
Roden, owner of the Astor, against distribu- 
tors and circuits. Defense counsel asked dis- 
missal, contending complainant had not ex- 
hausted remedial sources in the code. 

The Department of Justice antitrust ac- 
tion against distributors in St. Louis re- 
mained in statu quo. 

Kansas Names Committee to Act 

Ed. Rolsky was appointed committee 
chairman and Leland Hazard was retained 
as counsel by the Kansas City Independent 
Theatre Owners to proceed with a com- 
plaint against distributors. Mr. Rolsky de- 
clared the membership favored a Depart- 
ment of Justice investigation of a conspiracy 
charged between the Fox Midwest circuit 
and distributors. 

Mr. Rolsky said the fact the Code 
Authority is reported ready to adopt a clear- 
ance schedule for Kansas City will not de- 
ter the ITO antitrust legal actions because, 
he said, the schedule in its present form 
would not be acceptable to the independents. 

The contention is that Fox Midwest is 
given prior right to product and that the 
circuit has set clearances for Kansas City 
which are detrimental to independent subur- 
bans, but which the suburbans are forced 

to accept. They are also wrought up over 
a statement attributed to a Fox Midwest 
official that his circuit could effect even 
lower admissions and still gain protection 
over independents charging higher prices. 

In voting to ask the Government to in- 
vestigate trade practices in Milwaukee, the 
directors of the Wisconsin-Michigan Inde- 
pendent Theatre Owners Protective Associa- 
tion will seek a continuance of the inquiry 
conducted in the summer of 1931 by the 
Wisconsin Department of Agriculture and 
Markets, acting in behalf of independent 
owners who had asked for relief from com- 
petition of affiliated circuits. 

The 1931 action was enjoined in federal 
district court. The association will ask the 
federal government to order the Department 
of Justice to take up the investigation where 
the state was compelled to stop. 

The declaration of Governor Martin L. 
Davey of Ohio before the Ohio ITO was un- 
expected. He said : "If the present New 
York and Hollywood practices continue and 
the ITO brings them to my attention, I will 
personally appoint a Senatorial or special 
legislative committee to make a thorough in- 
vestigation of the situation in Ohio." 

Damages Asked in St. Louis Suit 

Abraham Lincoln Amusement Company 
set forth in its restraint-of-trade petition 
filed in St. Louis against Paramount Pic- 
tures Distributing Company that on Oct. 1, 
1934, it entered into a contract with the de- 
fendant corporation for a year's supply of 
motion picture product to be shown first-run 
at the Odeon theatre (negro patronage), 
and that it deposited $3,000 in accordance 
with the contract. Later, it was charged, 
Paramount caused cancellation of the un- 
expired portion of the contract and con- 
spired with other distributors to stop sup- 
plying films to the theatre. 

Attorneys for the large distributors were 
preparing the defense in the Department of 
Justice action which grew out of federal 
indictments returned by a grand jury for 
alleged restraint of trade. 

United States District Judge Charles B. 
Davis has set Monday as arraignment date 
for the restraint of trade case, which names 
as defendants Warner Brothers Pictures, 
Vitaphone Corporation, First National Pic- 
tures, Warner Brothers Circuit Manage- 
ment, General Theatrical Enterprises, Para- 
mount Pictures Distributing, RKO Dis- 
tributing Corporation, Harry M. Warner, 
Herman Starr, Abel Gary Thomas, Grad- 
well Sears, George J. Schaefer and Ned E. 
Depinet. The cases probably will be set for 
trial during the March term of the federal 
court, but delay is possible due to recent 
advancement of District Judge C. B. Faris 
to the United States circuit court of appeals. 

The indictment is based on complaints 
made by the owners, lessees, managers of 
the Ambassador, Missouri and Grand Cen- 
tral theatres, concerning their inability to 
obtain first-run pictures. 

Heads Nebraska lATSE 

F. P. Lewis has been elected president of 
the Nebraska chapter of the lATSE. Roy 
M. Brewer has been elected secretary. 

$200,000 Loss 
By Roxy Denied 

Abandonment last Saturday by Warners 
of the Samuel L. Rothafel theatrical venture 
at their Roxy-Mastbaum theatre in Phila- 
delphia was followed by a denial from War- 
ners of a "rumor" that ten weeks' operation 
lost between $200,000 and $250,000. 

"It is unfortunately true that the opera- 
tion of the theatre under Mr. Rothafel's 
direction has not proved profitable," said 
Joseph Bernhard, general manager of War- 
ner Brothers Theatres at the home office in 
New York. "But, there has been no loss of 
anything like the amount named." 

"As Mr. Rothafel stated in Philadelphia," 
continued Mr. Bernhard, "certain develop- 
ments in connection with prior obligations 
made it impossible for him to be constantly 
in that city. Had we been able to avail 
ourselves of his exclusive services at the 
Roxy-Mastbaum we would have been glad 
to continue the arrangement with him with 
every prospect of highly successful re- 

Newspaper reports had mentioned that 
Roxy's contract was for a salary of $1,000 
per week. The Roxy-Mastbaum, originall}' 
named for the late Jules Mastbaum, had 
been dark some time when Roxy took it 

Roxy told the press when he returned to 
New York over the weekend that the maxi- 
mum loss was $30,000, that he had kept 
within a $24,000 budget, and that he is to 
return to the theatre in the fall. He said 
that he now is negotiating to return to 
Broadway in charge of a first-run motion 
picture theatre. 

Final Action Due Soon 
On Philadelphia Duals 

Exhibitors this week were awaiting fur- 
ther moves following the recent decision in 
the double feature case handed down in 
Philadelphia by District Judge George A. 
Welsh in favor of Harry Perelman, and 
while no spreading of dual bills was noted, 
reports from other situations in the country 
indicated the practice is increasing. With 
the return to Philadelphia from Florida last 
week of Ben Golder, counsel for Mr. Perel- 
man in his action against major distributors, 
it was expected that action would be started 
soon to conclude the matter. It was said 
Thursday Mr. Golder would prepare his 
decree early this week. 

In California repeated efforts to eliminate 
duals have proved fruitless according to 
latest figures. Of 383 theatres in the Los 
Angeles territory, it is reported, more than 
350 regularly are showing double features. 

Golden's Father Dies 

Abraham Golden, father of Edward 
Golden, general sales manager for Mono- 
gram, died this week in Boston at 73. 



March 2 . 19 3 5 


Warner's KFWB Using New 
Type Equipment at Hollywood 
Station; Programs Recorded 
to Avoid Extraneous Noises 

Radio broadcasters are making elaborate 
preparations to enter the sound-on-film 
broadcasting field on a nationwide scale. 

After years of experimentation by radio 
and sound engineers with various types of 
equipment, to develop practicable "sound- 
on-film-on-air" apparatus which can be op- 
erated from a standard broadcasting studio, 
executives of United Research Laboratories 
last week announced it had completed its 
tests and is ready to put the equipment on 
the market. Last week on the Warner 
Brothers Hollywood station, KFWB, lis- 
teners were given an opportunity to hear 
for the first time a film-on-air program 
broadcast direct from a radio studio. United 
Research conceived and built the new type 
equipment for Warner Brothers. 

Never Before Direct from Studio 

Although radio audiences have heard 
film-on-air broadcasts once or twice the 
past year, the actual broadcasting in these 
instances was not direct from the studio, the 
stations involved accepting the broadcast 
from a remote control point. On one of 
these occasions the program emanated from 
the backstage of a theatre, and on the other, 
from a motion picture sound stage. Each 
of these broadcasts, it was reported, was 
accomplished with the assistance of tele- 
phone wires. 

The new KFWB equipment will permit of 
broadcasting sound-on-film-on-air directly 
from the studio. The first program of this 
nature to which audiences listened last 
week Included a portion of the motion pic- 
ture, "Sweet Adeline", with two songs by 
the star, Irene Dunne, one by Phil Regan, 
and a chorus of 40 voices featuring Dor- 
othy Dare. The film also Included selections 
by the Leo Forbsteln orchestra. 

Gerald King, manager of KFWB, said 
that by using the film method of broadcast- 
ing the listener is treated to a program per- 
fected in every respect for each broadcast 
as the result of many rehearsals, and if a 
blunder is recorded, the take can be made 
over again. Other advantages of the sound- 
on-film-on-air broadcast include the elim- 
ination of nervousness of artists in front of 
the microphone, disturbsome noises when 
the script pages are turned and general 
studio sounds. 

Mr. King said that the equipment far sur- 
passes the electrical transcription method of 
broadcast for the reason that no surface 
noise is heard and discs and needles are un- 
necessary. Likewise, he said, the high and 
low frequencies are more clearly reproduced. 

"I believe that in the near future many 
radio programs of a national nature will be 
presented by sound-on-film-on-air," Mr. 
King said. 

KFWB, however, is said to be vitally in- 
terested in electrical transcription and is 

considering a transcription syndicating plan 
on a national basis. Present plans call for 
an hour-daily program service to local 
stations consisting of electrical transcrip- 
tions and continuities, so that stations sign- 
ing for the service would have six hours of 
programs each week. 

It was reported this week that several ad- 
vertisers and agencies are preparing to enter 
the electrical transcription field on a basis 
comparable to that of the World Broadcast- 
ing System, which has signed up more than 
100 stations for this broadcast method, indi- 
cating to various interested parties the pos- 
sibilities attendant upon the syndicated 
transcription business. 

Some idea of the progress made in the 
transcription field is indicated by the fact 
that in 1934 the total volume of business 
done in payments for time exceeded $5,000,- 
000, an increase of 12.2 per cent compared 
with the second half of 1933, this figure 
representing national electrical transcrip- 
tion volume. At the same time it is demon- 
strated that local advertisers prefer live- 
talent shows on local stations to electrical 
transcriptions, this being indicated in a drop 
of 24.4 per cent over the year of 1933 in 
this phase of the disc business. 

CBS Acquires Little Theatre 

Columbia Broadcasting this week made 
further inroads into the theatrical field 
when it acquired the Little Theatre in the 
heart of New York's Times Square district. 
Columbia appears to be planning a chain of 
radio playhouses, acquisition of the Little 
making the third of its New York circuit. 
The other two are the Hudson and the 
Avon, both former legitimate houses. 

Total volume of broadcast advertising in 
1934 hit a new high of $72,887,169, an in- 
crease of 27 per cent above the estimated 
revenue from time sales the preceding year. 
The previous peak year was 1931, which, 
according to estimates of the Federal Radio 
Commission, recorded a gross revenue be- 
tween $70,000,000 and $73,000,000. 

Equity Charges Tyranny 

Actors' Equity Association is "going to 
bat" for its members whose main source of 
livelihood is radio broadcasting. Equity 
complains, in a survey which ran in serial 
form in the organization's house organ. 
Equity, and recently was published sepa- 
rately, that radio artists are subjected to 
every sort of tyranny imaginable by the 
radio magnates and agencies, the chief com- 
plaint being that there is no standardiza- 
tion of salaries. Following publication of 
the survey, the following figures on one- 
performance salaries of some radio person- 
alities were brought to light : 

Lawrence Tibbett, $4,000 ; Lily Pons, 
$4,000; Rosa Ponselle, $3,500; Chaliapin, 
$3,500; Grace Moore, $3,500; Geraldine 
Farrar, $3,000; Lucrezia Bori, $3,000; Lotte 
Lehman, $2,500; Richard Crooks, $2,000; 
Gladys Swarthout, $1,500; Nino Martini, 
$1,500; Richard Bonnelli, $1,500; John Mc- 
Cormack, $1,500; Schumann-Heink, $1,000; 
Queen Mario, $1,000; Helen Jepson, $1,000; 
Rose Bampton, $750, and Carmela Ponselle, 

Schenck Purchase 
In Fox Met Plan 

The latest plan of reorganization for Fox 
Metropolitan Playhouses, due to have been 
filed in New York some time this week, will 
provide for an equal division of the circuit's 
stock between Joseph M. Schenck, presi- 
dent of United Artists, who last week re- 
vealed that he had submitted a bid of $4,500,- 
000 for purchase of the company's bonds 
and Fox Theatres Corporation, with Mr. 
Schenck becoming president of Fox Met. 
The plan was to have been outlined to Fed- 
eral Judge Julian W. Mack on Tuesday, 
but the hearing was postponed. 

Milton C. Weisman, Fox Theatres re- 
ceiver, will submit the plan. Fox Theatres 
owns all of the common stock of Fox Met 
and has a claim of $5,000,000, based on 
stock ownership, pending against it. The 
86 theatres in the Fox Met circuit are, 
however, pledged as security for the $12,- 
460,700 of the company's bonds outstanding. 

Under the terms of the new reorganiza- 
tion plan. Fox Met as reorganized would 
issue approximately $6,000,000 of secured 
debentures to the present bondholders for 
50 per cent of their equity and approxi- 
mately 250,000 shares of new stock for the 
remaining 50 per cent. The plan further 
proposes that half of the new stock be sold 
by the bondholders to Mr. Schenck for about 
$600,000 in cash, the other half to Fox The- 
atres for $300,000 cash and the release of 
Fox Met from the $5,000,000 Fox Theatres' 
claim, which for purposes of the plan is 
allowed in the amount of $300,000. 

If the present plan receives approval of 
the court. Fox Met bondholders would re- 
ceive immediately cash amounting to ap- 
proximately 20 cents on the dollar and would 
retain an aggregate $6,000,000 equity in the 
new company. In addition, the bondholders 
will receive warrants for a pro rata share 
in approximately $2,000,000 cash in the pos- 
session of the Fox Met trustee, after de- 
duction of administration and reorganiza- 
tion expenses. 

The plan also provides for the continuance 
of Skouras and Randforce as operators of 
the circuit under their present arrangements 
at least until May 1, 1936. It is anticipated 
that Mr. Weisman, as receiver for Fox The- 
atres, will become an officer of Fox Metro- 
politan. He denied that either A. C. Blu- 
menthal or Loew's, Inc., has any interest 
in the plan or in the projected interest of 
Mr. Schenck in the circuit. 

Department of Justice investigators this 
week started an inquiry into the Schenck 
offer, the procedure being similar to the 
check made last year when Loew's and War- 
ner made a joint bid for the circuit. 

Tax Revenue Drops 

Admission taxes collected by the govern- 
ment during January totaled $1,328,884, 
compared with $1,399,815 during January, 

March 2. 1935 




Americans Less Affected Than 
Home Concerns by 1934 Re- 
trogression; Theatre Receipts 
Down, Production Curtailed 


Paris Correspondent 

The French cinema industry is fervently 
hoping for a resumption of the improvement 
interrupted last year, when the unstable 
political situation and the depression 
brought a reverse from the gains of 1933. 
Last year the receipts of theatres decreased 
at a large rate and the French producers 
made 50 fewer pictures than in the previous 

On the other hand, foreign companies es- 
tablished in France, and especially the 
American ones, were comparatively little 
affected, and this despite the fact that 
American pictures presented in 1934 were 
generally less suitable for the French taste 
than those of previous years ; there were 
too many dialogue pictures without action ; 
pictures difficult to show in their original 
version with subtitles, and really impossible 
to dub. The dislike of the average French 
patrons for the ordinary dubbed foreign 
pictures increased the difficult situation of 
the importers of films into the French ter- 
ritory. Only the big foreign pictures now 
may be shown as features in the French 
cinema houses; others are taken only as 
supporting pictures. 

The decree of November 27 exfending 
for SIX months the quota which was to 
have expired December 21 had been re- 
ceived very quietly. Everybody thinks that 
the only trouble is the short period, leav- 
ing foreign companies the uncertainty as 
to a new quota In July. On the other 
hand, the number of 94 for dubbed pic- 
tures is really enough for the present. 
Dubbings, except for some outstanding 
pictures, are not so cordially welcomed 
by French audiences. 

For the eight first months of 1934 (January 
1 to August 31) receipts of Paris cinema 
houses decreased by 8.1 per cent. Receipts, 
which had been $14,300,000 in 1933, then went 
down to $13,200,000 in 1934, a decline of 
$1,100,000. The- riots of last February reduced 
intake 12.5 per cent from the same month in 
the previous year, and with the excessive taxa- 
tion, which may take up to 30 per cent of re- 
ceipts, French exhibitors are in an unfortunate 
position, which affects also distributors and 

Furthermore, French patrons, who are going 
less often to see pictures, have also become 
more particular and protest vigorously against 
any picture they do not like. 

While in the United Kingdom the more than 
4,000 wired theatres are reported to be making 
big money, the 3,100 in France really cannot 
live if things stay as they are. 

The eternal fight of the French Exhibitors 
Association for lower taxation has been 
stronger than ever, and may succeed at last, 
but for a very small reduction. 

On December 11 a plan was proposed by 
the Government before the Parliament for a 

reduction of taxes on the stage and cinema 
theatres. The state taxes would be reduced 
by 20 per cent and the pauper tax (now 10 
per cent) could be reduced in every town by 
an agreement with the town council. This 
pauper tax would be charged on the radio 
listeners. Coming strangely with the taxation 
development is a Government move to bar 
block booking and blind booking. This would 
save the exhibitor from booking a number of 
unknown films in order to get one which he 
knows to be worthwhile. On the other hand, 
no contract between exhibitor and distributor 
would be available before the second day after 
the trade showing or first public performance 
of a picture. It is expected that the Parlia- 
ment will pass this plan. 

The bill would not reduce taxes more than 
4 or 5 per cent of extra receipts. Reduction of 
the pauper tax could be of great help, but as 
the decision will lay on the town councils, and 
as they will have to charge the tax on the radio 
listeners, who are, of course, larger in number 
than theatre and cinema exhibitors, there is 
no chance at all here. 

This proposed law is only a prelude to the 
French statute of the cinema industry on which 
delegates of all branches of the industry have 
been working for several months. This statute 
would have to be passed by the Parliament, and 
that is why the Government, waiting for the 
new statute, has extended the present quota. 

Admission Prices Reduced 

The decline of patronage has obliged many 
exhibitors to reduce admission prices. The 
6,000 seats in Gaumont Palace are now 40 to 
80 cents, instead of 75 to $1. As a result this 
house is filled every night and all Sunday. All 
the other cinemas around it have been obliged 
to reduce prices. The average admission tickets 
in the Paris districts are 20 to 40 or 50 cents. 

The Paramount theatre, on I'Opera Square, 
with pictures and a stage attraction featuring 
a permanent troupe of 16 English girls, has the 
following rates : 

Morning (9.30 to 1 p. m.) and night (11.15 
p. m. till 2 a. m.) : 40 cents everywhere except 
the 80 cent mezzanine. There is no stage show 
at these performances. 

Week days afternoon : 80 cents everywhere 
except $1 in mezzanine. Evenings (7.30 till 11.15) 
and Saturdays, Sundays and holiday after- 
noons : $1 except $1.30 mezzanine. 

The most expensive seats are those of the 
theatres specializing in foreign talkers, mainly 
American talkers. In nearly all these cinemas 
(Champs Elysees and I'Opera districts) seats 
are normally from 50 cents to $1.70. As a 
matter of fact there are too many of these 
specializing theatres (28 of them). So they 
have been obliged to lower their rates, now 40 
cents to $1.30. 

Competition has been injected further with 
the expansion of short feature theatres. There 
now are 10 in the central districts, showing for 
20 cents a two-hour program of news, come- 
dies, color cartoons, and sometimes feature pic- 

Theatres' Policies Changed 

American pictures are generally shown first 
in the Paris specializing theatres in their orig- 
inal version, spoken in English, with super- 
imposed French titles. After one, two or three 
runs in these theatres, the American pictures 
are released in the other theatres of Paris and 
provinces as dubbings. 

Paramount and MGM recently changed their 
policy of first-run exhibition in their own the- 

The MGM Madeleine Cinema of Paris, which 
for a year had been showing the leading MGM 
productions in original version, as an experi- 

Quota Extended as Government 
Awaits Parliament Action on 
Plans to Reduce Theatre 
Tax and Halt Block Booking 

ment returned to dubbed versions for "Men in 
White" and "Tarzan and His Mate." One gen- 
erally would expect that patrons who pay $1 
to $1.30 would prefer the original versions. 

On the other hand. Paramount, which had 
shown its pictures in original version in some 
high class theatres of the Champs Elysees and 
later in dubbing at its big Paramount the- 
atre, has adopted another policy. All leading 
Paramount features are shown first at the 
Paramount theatre as dubbing, and two or 
three weeks later in some second run cinema 
showing American talkers. "The Scarlet Em- 
press," "Murder at the Vanities" and "Cleo- 
patra" were shown first-run at the Paramount 
in dubbed versions. 

By the way, Henri Klarsfeld, general man- 
ager of the French branch of Paramount Pic- 
tures, has returned from the States bringing 
some good news about the new program of 
French production in France by Paramount. 

Warners Double-Featuring 

Warner-First National have retained their 
policy of double featuring original versions at 
the first-run Apollo theatre of Paris about 
each five weeks. Thus, "The St. Louis Kid" 
and "Happiness Ahead" appeared on the same 
program. If the pictures shown at the Apollo 
are successful at the box-office they are dubbed 
afterwards and released in the other French 

Universal has been rather quiet since the be- 
ginning of the new season. This company has 
issued the original version of "Councillor at 
Law" and a number of dubbed pictures, among 
them "The Invisible Man," in the district 

Fox Film has shown both American and 
French pictures. The French version of "Cara- 
van" has not been so well received here. Fred 
Bacos is producing regularly in the Joinville 
Pathe Natan Studios pictures to be released 
through Fox. They are popular pictures with 
great appeal to the Paris district and provin- 
cial audiences. 

United Artists is continuing its policy of 
showing in original version its main pictures. 
They have a contract with four first-run the- 
atres on the Champs Elysees and in the Boule- 
vards district. 

While American pictures In the original 
have very often a big success In Paris spe- 
cializing theatres, the general release as 
dubbings In the ordinary theatres, as sup- 
port to French product, Is a great handi- 
cap. Dubbings are now nearly perfect, 
such as those of "Scarlet Empress" and 
"Cleopatra", but the French audiences are 
very particular. That is why distribution In 
France for American companies, especially 
such as in the cases of MGM and Warner, 
which do not have French pictures to re- 
lease at the same time, has become terribly 

With theatre receipts down, French produc- 
ers have been obliged to reduce their produc- 
tion costs as well as number of pictures made. 
While in 1933 about 150 features were pro- 
duced in the French studios, the 1934 total does 
not exceed 100 or 110. Since September 1 only 

(Continued on follozvinr/ page, column 3) 



March 2 , 1935 


Copyright Would Extend to 
Works of a Foreigner Only 
If Country Is Party to the 
International Convention 

Modernization of the United States copy- 
right laws and provisions for entry of the 
United States into the international copy- 
right convention are included in a bill made 
ready by the State Department for early 
submission to the Senate foreign relations 
committee. The measure includes provisions 
for reducing from $250 to $100 the penalty 
on motion picture exhibitors for "innocent" 
copyright infringement. 

The State Department for several years 
has been working for modernization of this 
country's copyright laws and entry of the 
United States into the international con- 
vention. With respect to the second phase, 
Herbert Hoover sought approval of such a 
measure in 1931 and last year President 
Roosevelt attempted a similar move, but in 
both instances the Senate failed to ratify the 

The present copyright law was enacted 
in March, 1909, and amended to protect mo- 
tion pictures in 1912, with additional amend- 
ments in 1913, 1914, 1919, 1926 and 1928. 

Several Provisions Opposed 

The new bill attempts to cover the motion 
picture situation, but there are several pro- 
visions said to be unsatisfactory to both pro- 
ducers and exhibitors. 

In Section 1, giving the copyright owner the 
exclusive right to make a motion picture, either 
with or without sound, from a literary work, 
and to perform it, an amendment also provides 
for radio broadcasting. Section 4 provides that 
"copyright may be secured for all the works of 
an author, whatever the mode or form of their 

Section 5 would add to the classes for which 
copyright may be claimed on works prepared 
expressly for radio broadcasting. 

Section 8 would provide that copyright 
extend without formality to the works of 
a foreigner only in the case of countries 
which are parties to the international con- 
vention, and that in the case of citizens of 
other countries the present reciprocal re- 
quirements shall be met. 

Section 11, which relates to the copyrighting 
of unpublished works, would be broadened to 
cover works prepared exclusively for radio 

Section 23 would provide for a copyright 
term of 56 years, without extension, in lieu 
of the present term of 28 years, with renewal 
for a like period. The new period automatically 
would apply to works registered prior to the 
date the new act becomes effective. 

In Section 25, the penalty provisions for copy- 
right infringements are amended to give the 
owner of the copyright the right to obtain an 
injunction to restrain infringement ; to collect 
such damages as he may have suffered through 
infringement, as well as all such part of the 
profits which the infringer shall have made as 
the court may decree, or to collect, in lieu of 
actual damages and profits, such statutory 
damages as the court may hold just. 

When proving profits in infringement cases 
the plaintiff would be required to prove only 

sales, rentals, license fees, or other revenue 
derived from any disposition of an infringed 
work, and the defendant would be required to 
prove every element of cost which he claims. 

In the setting of statutory damages it further 
is provided that the limits for unauthorized ex- 
hibitions of motion pictures shall not be less 
than $100 nor more than $10,000 for all in- 
fringements of a copyright by any one in- 
fringer up to date of suit. 

In these circumstances the plaintiff either is 
required to show that at the time of alleged 
infringement the work either had been registered 
or notice of copyright had been affixed thereto, 
before he is entitled to any remedy other than 
an injunction of the fair and reasonable value 
of a license, in a sum of not more than $2,500 
as determined by the court. 

Transfers Differentiated 

If the defendant is able to prove he has been 
subjected to fraud or substantial imposition by 
any third person and had acted in good faith, 
the plaintiff may recover only for infringe- 
ments to the date of institution of suit, an 
amount equivalent to the fair and reasonable 
value of a license, but not less than $50 and not 
more than $2,500. 

Section 41, which differentiates between the 
transfer of copyright and the transfer of ma- 
terial object copyrighted, is expanded to pro- 
vide that independently of the copyright, and 
even after its assignment, the author retains 
the right to claim authorship as well as the 
right to object to every deformation, mutilation 
or other modification of his work which may 
be prejudicial to his honor or reputation, but 
this is not to limit full freedom of contract 
between the author or owner of a work and 
an assignee or licensee thereof. 

The bill includes a new section which 
authorizes the President to take steps necessary 
to make the United States a member of the 
Union for the Protection of Literary and Artis- 
tic Works. 

The department's measure, with the excep- 
tion of this last-named new section, which auto- 
matically would become effective upon passage 
of the bill, would go into effect July 1, 1935. 

Kaufman Leaves 
Paramount Post 

Albert A. Kaufman, for many years a 
Paramount executive, resigned last week to 
join the Coast agency operated by Myron 
Selznick and Frank Joyce as vice-president 
and general manager. Mr. Kaufman had 
been the founder and head of the Paramount 
foreign studios, and prior to his resigna- 
tion, had acted as assistant to Emanuel 
Cohen, formerly production head. 

Adolph Zukor, Paramount president : 
Henry Herzbrun and Ernst Lubitsch, joint- 
ly heading the Paramount studio, expressed 
regret at Mr. Kaufman's resignation. Mr. 
Zukor said: "Al Kaufman has been with 
Paramount, with me, since the founding of 
the company. . . . While I sincerely regret 
his decision, I readily can understand that 
his new affiliation will prove more lucrative 
for him." 

A. M. Botsford has been named execu- 
tive assistant to Mr. Herzbrun. Bogart 
Rogers has been placed in charge of the 
story department. 

U.S. Films Retain 
Lead in France 

(Continued, from preceding page) 

30 pictures have been produced in the French 
studios and 20 of those before November 15. 

Nevertheless, quality has become better. In 
1934 France produced a few pictures which 
have been really great successes. The main 
pictures of 1934 French production are: 

Lac Aux Dames: ("For the Ladies") from 
Vicky Baum's novel. 

Jeunesse ("Youth"), a picture showing 
the real life of four Parisian girls and boys. 

Le Grand Jeu, Jacques Feyder's picture on 
the Foreign Legion. 

La Maison Dans La Dune ("The House 
in the Dune"), a dramatic action picture show- 
ing smuggling on the French-Belgian border. 

NuiTS MoscoviTES ("Moscow Nights"), 
two months at the Champs Elysees' Marignan 
theatre. Directed by Alex Granowsky. 

The Slump is Over, a new kind of French 
picture with Albert Prejean and the 17-year- 
old star, Danielle Darrieux. 

If I Were the Boss, funniest picture of the 
year, starring Fernand Gravey (on "Queen's 
Affair" and "Bitter Sweet"). 

Angele, a very original picture shot in the 
South of France and showing life of the coun- 
trymen. Directed and produced by the stage 
writer. Marcel Pagnol (author of "Topaze"). 

The Battle, the English version of which 
has just been shown in New York. 

La Dame Aux Camelias, Alexander 
Dumas, Jr.'s novel, played by the stage play- 
ers Yvonne Printemps and Pierre Fresnay. 

Maria Chapdelaine, a story of the French 
countrymen in Canada, where all outdoor shots 
were taken. 

British Well Received 

American and French pictures are the main 
elements of the French market, but there are 
also some from Germany, England and Russia. 
British pictures have been very well received. 

The Soviets have booked a Pathe Natan 
theatre on the Boulevards for exclusive exhibi- 
tion of Russian Pictures. This is the Max 
Linder Cmema, where, after an eight weeks' 
first-run of "The Storm" they began showing 
a musical picture called "The Gay Fellows." 
These pictures have not been so well accepted 
except by socalled society audiences. 

It is rather strange to see French and 
foreign films sharply criticized by the French 
daily newspapers, particularly in Paris, where 
cinemas provide 20 per cent of the total adver- 
tising. Caustic comment by the critic of a 
leading evening newspaper in Paris stopped 
at once the success of "Cleopatra" at the Para- 

The industry needs real championing in 
France. Only 8 per cent of the population goes 
to the cinema theatres. 

Independents Release 
100 Features in New York 

New York independents are releasing ap- 
proximately 100 features this season, it was 
estimated this week by the New York griev- 
ance board during a hearing. 

It also was indicated that the totals an- 
nounced by the various exchanges average 
about ISO, but every company does not de- 
liver the quota promised. 








Queenie Smith, John Miljon, Gail Patrick 
Fred Kohler, Claude Gillingwater 

A Paramount Picture • From the play by Booth 
Tarkington • Directed by Edward Sutherland 


NOT SO BAD! — Lovely Joan Bennett gets quite a shock when she learns that 
the notorious river desperado, the Singing Killer, is none other than her 
romantic Yankee troubador, Bing Crosby. 

ANYWAY, IT'S LOUD!— W. C. Fields, the Champion Calliope Player of the Seven Seas 
hits a close one with the Notorious Colonel Steele, Bing Crosby, the Singing Killer. 

HERE THEY ARE . . . The gattenng Galaxy of Stars from the 
Jackson HIMSELF... Alabam, Dancing Dynamite of the Bayous I 
Novelty Melodies ... A Ship of Song, Laughter, Rhythm and 




THE BATTLE OF THE CENTURY!— The Singing KiUer m a struggle to the death with Dead Shot Cap'n 

Blackie, Fred Kohler, Unchained Alligator of the Dismal Swamp! 

jreatest Show Afloat . . . Commodore 
. Five Cabin Kids, Dusky Singers of 

A SONG OF LOVE ! — With the fragrance of magnolias scenting the moon-lit night, Bing Crosby sings his wa) 

mto the heart of Joan Bennett, the loveliest lass in the Mint Julep Belt 


THE GLAMOUR OF THE OLD SOUTH! — Ring Crosby plays the courtly suitor to his lovely 

Dixie bride, Gail Patrick, amidst the romantic glamour of the Old South. 

with bedlam rampant on the Show Boat, 
the Skipper can't be bothered playing 
around in a woman's arms! 

STYMIED HAM! — ^The steely glitter in Dead Shot Cap'n Blackie's eyes interrupts the trajectory 
of some "ham-and" from the plate to the commodious mouth of the four-flushing river showman! 

HERE SHE COMES! ... a floating palace 
of entertaiiunent, loaded to the gunwales 
with melodious music, side-shaking laughter, 
dancing, excitement, action and romance ! ^ 


— Bing Crosby sings love 
s<Migs to lovely ladies, fights 
for honor and wins the pretti- 
est gal in Dixie! 

KILLERS ON THE LOOSE! — A tense moment when a friendly card game that started 

peacefully with chips and glasses ends with pistols and knives 

HAPPY ENDING! — With a happy song on their lips and love in their hearts, Bing Crosby and 
Joan Bennett steam away with the Show Boat troupe down the broad highway of the Mississippi! 


March 2 , 

19 3 5 




Contemporary Biographies New 
Trend in Production; Only One 
Film Starts, Eight Are Finished 


Hollywood Correspondent 

PERSONAL screen biographies of great 
or colorful figures having proved suc- 
cessful as entertainment, definite indi- 
cations are that there will be a new trend 
in the type of personalities treated, a turn 
to utilizing the drama and romance sur- 
rounding more contemporary and probably 
equally glamorous figures with whom the 
public is more directly familiar. Universal 
started it with announcement of a produc- 
tion built around the late Florenz Ziegfeld, 
glorifier of American girls. MGM pur- 
chased it and will produce on a lavish scale, 
with William Powell portraying Ziegfeld. 

Universal will proceed with a picturiza- 
tion of the equally glamorous Diamond Jim 
Brady. Broadway playboy of the gay nine- 
ties and early years of this century, Brady's 
diamonds and voracious appetite are both 
fact and legendary features of the American 
scene. Friend of millionaires and down-and- 
outers, Diamond Jim was an astute busi- 
ness man, a colossus of a gaudy world. His 
bid for Lillian Russell's hand and the lavish 
manner in which he sought to influence her 
decision is still talked about. Spending thou- 
sands buying champagne for others, he never 
drank himself. 

Other American characters affording 
potential screen entertainment include 
such personalities as "Bet a Million" Sates, 
the great gambler Canfield, the original 
Nick the Greek, Hetty Green, Alan Dale 
(critic), the bosses Croker, Tweed, Hanna. 

Should the production of "Diamond Jim" 
prove popular, old newspaper files, the 
Police Gazette of halcyon memory and even 
the Congressional Record will be in for a 
thumbing over. 


Young Warner Players Shine 

The first annual dinner dance of the War- 
ner Club, held at the Biltmore Bowl last 
Thursday, set a standard for future entertain- 
ment committees of the organization to shoot 
at. Bill Koenig is president of the studio club, 
and Sol Dolgin was chairman of the entertain- 
ment, provided chiefly by the younger players, 
with Benny Rubin master of ceremonies. Wini- 
fred Shaw, The Three Kings, the Di Marcos 
and others performed with specialties between 
sketches in which the entire industry was 
kidded good naturedly in the Hollywood man- 

Topping the evening was a preview of a reel 
of "blow ups," with the high priced players for- 
getting their lines. Nearly everyone on War- 
ner's list got into the reel, with no favoritism. 
Funniest "breaks" were contributed by Rudy 
Vallee, Jimmy Cagney, Warren William, Kay 
Francis, Pat O'Brien and Dick Powell. 

Rachel Crothers on Percentage 

Behind the news this week is the interesting 
story which on the surface reads, "Rachel 
Crothers has signed a percentage contract with 
Samuel Goldwyn." Until this deal, the play- 
wright, with at least one stage hit in New 
York every season for the past twenty years, 
had shown little or no interest in pictures. It 

was pointed out to her, however, that, in a 
new approach to films, if she could write for 
the screen, and be paid a percentage of the 
gross, the way would be paved for other writers 
who believe in the royalty system. 

Miss Crothers held out for only one point. 
She insisted on the right to supervise her own 
productions, which was granted under her pres- 
ent contract. Furthermore, she is responsible 
only to Samuel Goldwyn and no one else. 

Sam Goldwyn, Showman 

They tag any foolish gags they can think 
of on him, but Hollywood acknowledges Sam 
Goldwyn as one of the shrewdest showmen. 
Following the theatre preview of "The Wed- 
ding Night," one was held next day in the 
studio for the press, and his keen showmanship 
sense again was demonstrated. Upon its con- 
clusion, which shows Gary Cooper standing 
by a window soliloquizing witli the shade of 
his departed love, Mr. Goldwyn asked the 
audience to wait a moment while he showed 
the last reel with another ending, which reveals 
the action as a novel which Cooper had written. 

Asking the critics to vote as to which ending 
they liked better, he got a ballot from prac- 
tically everyone. By a great majority the press 
favored the first, or realistic finale. 


One Film Starts, Eight Finished 

Hollywood's heavy active production schedule 
eased up noticeably in the past week. Only 
one picture was started, while eight were com- 
pleted. MGM is credited with the sole new 
feature to be put into work. Paramount fin- 
ished three, Colombia, MGM, Fox, Universal 
and Mascot one each. 

Titled "Order Please," the picture started by 
Metro, will present Conrad Nagel, Steffi Duna. 

Comedy is the outstanding element in the 
Paramount pictures just completed. The first, 
"McFadden's Flats," adapted from a play by 
Gus Hill, will feature Walter C. Kelly (the 
Virginia Judge), Andy Clyde, Richard Crom- 
well, Jane Darwell, Betty Furness, George 
Barbier and Phyllis Brooks. In "Stolen Har- 
mony" George Raft plays a dual role. With 
him are Ben Bernie, Grace Br'adley, Lloyd 
Nolan, William Cagney, Goodee Montgomery, 
William Pawley, Ralf Harolde, Charlie Arnt, 
Paul Gorrits, Iris Adrian, Cully Richards, Jack 
Norton, Christian Rub and Snowflake. "Hold 
'Em Yale," from a Damon Runyon original 
story, has Patricia Ellis, Larry (Buster) 
Crabbe, Caesar Romero and William Frawley. 

Columbia finished the western "Fighting 
Shadows," formerly titled "Guns of the Law." 
Tim McCoy is starred, with Geneva Mitchell, 
Robert Allen, Ward Bond, Cy Jenks, Otto 
Hofifman and Ed LeSainte. 

At MGM "Reckless" was finished. Jean 
Harlow, William Powell and Franchot Tone 
are its big names. 

With only a few specialty atmospheric shots 
to be made. Fox transferred "Dante's Inferno" 
to the cutting rooms. The cast comprises 
Spencer Tracy, Claire Trevor, Henry B. Wal- 
thall, Alan Dinehardt, Scotty Beckett, Robert 
Gleckler, Rita Cansino, Gary Owen, Willard 
Robertson and Morgan Wallace. 

Shooting was completed on "Princess 
O'Hara" at Universal. Chester Morris and 
Jean Parker have the leads. 

Mascot finished "Behind Green Lights," fea- 
turing Norman Foster, Judith Allen, Purnell 
Pratt, Mark Lobell and Theodore Von Eltz. 


in Hollywood 

THAT mountain of artistic pretense and 
affectation which is Mr. Joseph Von 
Sternberg has labored and brought 
forth a mouse to which , is attached the 
rather absurd title, "The Devil Is a Wo- 
man." We state regretfully and simply for 
the purposes of accuracy that It Is a Para- 
mount picture which was previewed In 
Hollywood on last Friday night. Ernst Lu- 
bltsch, optimist that he is, indicated fol- 
lowing the preview his hope that now be- 
ing in charge of Paramount production he 
would be able to do something about this 
picture before it Is finally delivered to the 
theatres. Our best wishes go to Mr. Lu- 
bltsch in this worthy ambition. He need 
approach his task with no conscientious 
scruples; he cannot possibly do It any harm. 

The production Is an example — Incredible 
though It may seem — of what such a person 
as Mr. Von Sternberg can and will do when 
permitted to run wild with the facilities of 
a great studio, Including its bankroll. It 
Is notable for fine photography, Mr. Von 
Sternberg being among other things the 
accredited cameraman on the production. 
The camera work frames a picture which is 
almost utterly without merit and fulfills 
about the same function as an Interesting 
frame for an amateurish daub of oils on a 
sheet of canvas. Marlene Dietrich sings 
two song numbers. One of them is quite 
well-done and might amount about to the 
single bright spot in the picture were it 
not due to the fact that It Is distinctly sug- 
gestive in character and ought to come 
out. With this scene out, the picture would 
be, uniformly from start to finish, one of 
the worst pictures we have ever had the 
misfortune to observe. What it pleases to 
rely upon as story is something that only a 
person who knows utterly nothing about 
stories could consider to be a story. The 
technic used In telling the story is shock- 
ingly abortive. Miss Dietrich Is a conven- 
tional vampire. The other characters are 
relieved of anything definitive in the way 
of characterization and are left as unknown, 
uninteresting manikins. 

Mr. Von Sternberg's posturing and pos- 
ings apparently lulled the studio authorities 
Into a notion that this graduate cameraman 
knew precisely what he was about with re- 
spect to all details of the production, in- 
cluding the story. It appears that he was 
in complete and autocratic charge of the 
production. Aside from the rather Interest- 
ing question as to just how responsible ex- 
ecutives of a corporation see their way 
clear to allow subordinates to have this 
kind of a holiday with the corporation's 
resources, the responsibility for this pro- 
duction lies at Mr. Von Sternberg's door; 

(Continued on following page, column 1) 



March 2, 1935 


in Hollywood 

(Continued from t^rcceding paije^ 

he was in complete charge. This circum- 
stance gave rise to a full and complete op- 
portunity for Mr. Von Sternberg to demon- 
strate what appears to be his contempt for 
both his studio and for the public. This 
production seems to suggest that Mr. Von 
Sternberg thinks that the conventional ways 
of the industry are the ways of stupid peo- 
ple. Ne would show the industry the Von 
Sternberg way. The public, too, in his 
reasoning, seems to be of a stupid charac- 
ter; he will not give them what they have 
demonstrated they want; instead, he will 
give them what Von Sternberg thinks they 
should have. 

The production, involving a fortune in 
cost, plagues the Industry as an example of 
what can happen when an unstable artist, 
If Indeed he Is an artist, is allowed to run 
riot. It will deepen the furrows in the brows 
of theatremen and It will serve the public 
as a sure-cure for the theatre-going habit. 

As the preview audience passed out of 
the theatre a wit standing in the lobby 
called out, "Here, here, get your copy of 

F one undertakes to write a piece about 
"Naughty Marietta" there is need that 
he steel himself against a very possible 
delirium lest the resultant item turn out to 
be a giddy raving that will read more like 
a blatant advertisement than an honest ex- 
pression of opinion. In other words, there- 
fore, MGM has done exceedingly well by 
the Victor Herbert operetta. The exquisite 
song numbers of this famous musical show 
have been given noteworthy production 
and rendering; two of them — "Mystery of 
Life" and "I'm Falling In Love with Some- 
one" — have never, undoubtedly, In any pre- 
vious rendering been given such charm and 
beauty of setting, nor voiced with such skill 
and artistry. Within our observation it Is 
Jeanette MacDonald's best performance 
upon the screen. And strangely enough, in 
view of this exceptionally fine performance, 
there Is a dark horse named Nelson Eddy 
who probably should be declared the win- 
ner of the acting and singing stakes. 
Among the performers there are also Frank 
Morgan, who bears watching in any pic- 
ture, and Elsa Lancaster, who will be re- 
membered for a sharply etched portrayal 
In "Henry the Eighth", in addition to a 
number of other excellent players. 

"Naughty Marietta" is a thing of beauty, 
skillfully and humanly directed by V\/illIam 
S. Van Dyke. There is comedy enough and 
enough also of story adapted by John Lee 
Mahin from the book by RIda Johnson 
Young. But it Is the Victor Herbert music 

and what has been done with It that makes 
this an attraction that should mean millions 
of happy hours for customers of the picture 
theatres. In many respects nothing more 
satisfactory in the way of a musical picture 
of real music has been done. Particularly 
adroit has been the treatment given to the 
introduction of the several musical num- 
bers. These are glided Into so reasonably 
and so sensibly that there has been avoided 
completely that unpleasant shock which is 
so frequently encountered. This Is a Hunt 
Stromberg production and it is one which 
any producer might well be proud of. To 
the Stromberg list may be added another 
production of outstanding merit. To us 
"Naughty Marietta" was one of the most 
enjoyable of the motion pictures. 


British Protest 
Booking Combine 

Every British distributor with the excep- 
tion of Gaumont on Tuesday in London, 
through the Kinematograph Renters' So- 
ciety, has agreed to invoke the existing reso- 
lution against booking combines. John Max- 
well of British International is chairman of 
the society, which this week asked Gaumont 
for details of its arrangements with theatres, 
and ordered members to make no deals with 
those houses. 

Last week it was reported that a wave of 
circuit buying was imminent when it was 
revealed that Gaumont British had acquired 
a large holding in Union Cinema Co., Ltd., 
and that Arthur Jarratt, Gaumont booking 
head, had joined the board to do the book- 
ing. It also was reported that Gaumont 
planned 30 new houses. 

It appeared this week, however, that Gau- 
mont 's acquisitions are booking deals. 

Clayton Sheehan Sails 

Clayton Sheehan, foreign manager for 
Fox, sailed for Europe this week on his reg- 
ular semi-annual trip to foreign capitals. 


Max Reinhardf, famed European 
producer, now making "A Midsum- 
mer Night's Dream" for Warner, this 
week in Hollywood named those 
players who, in his opinion, are the 
greatest of the talking screen. Charles 
Chaplin, who was not inchided be- 
cause he has not appeared in talking 
pictures, Mr. Reinhardt called "the 
greatest artist of them all." 

The "greatest," with James Cagney 
placed first, are: Charles Laughton, 
Katharine Hepburn, Leslie Howard, 
Greta Gar bo, Marlene Dietrich, Paul 
Muni, Marion Davies, Robert Donat, 
Kay Francis, Edward G. Robinson 
and Bette Davis. 

George M. Cohan this week named 
Walter Huston and Helen Hayes 
America's greatest players. 

Cutting 0 f Prices 
Continues Actively 

Pittsburgh and Kansas City this week 
remained the focal points of the nation's 
price wars with theatres in each situation 
slashing top prices to unprecedented low 

Although the price war in Kansas City 
has been on for several months, with first 
runs and neighborhoods teetering back and 
forth, exhibitors in that territory this week 
were of the opinion that low admissions 
would continue at least for the balance of 
the 1934-35 season. Increases may be at- 
tempted with the start of the 1935-36 sea- 

The Kansas City first run situation is 
having repercussions in the neighborhoods 
and suburbans. One of the latest to cut its 
scale is the Plaza, Fox Midwest's ace 
suburban house, which has first call on 
product after first run. There the top has 
been cut to 25 cents after staying at 30 
cents since the middle of last year. 

Prices were raised at Fox suburbans and 
some of the independents when first runs 
established higher scales early last autumn. 
Three of the five first runs, however, soon 
returned to lower scales after a trial, the 
only two withstanding the price-cutting 
wave being the Publix Newman and the 
Fox Uptown. 

In Pittsburgh, with the reduction of its 
scale from 40 to 25 cents, Mort Shea's Ful- 
ton this week ran into trouble with ex- 
changes, some of which refused to honor 
contracts under existing prices. The same 
difficulty was encountered by the Alvin, 
where an "early-bird" matinee price of 15 
cents had been announced last week from 
opening until 12:30. When the distributors 
protested, the Alvin immediately returned 
to its 25 and 40-cent scale. 

M. E. Comerford III 
In Washington Hospital 

The condition of M. E. Comerford, head 
of the Comerford Theatre Co. of Pennsyl- 
vania, who collapsed in a Washington hotel 
on Friday, was considerably improved Wed- 

The veteran theatre man had planned to 
attend the convention of the Motion Picture 
Theatre Owners of America at New Orleans 
t^is week. 

Stage Blames Public 
For Salacious Plays 

The current wave of criticism of the legiti- 
mate theatre for salacious presentations 
should be directed at the public rather than 
at the actor and at the producer, it was said 
in New York Tuesday at a meeting of the 
Episcopal Actors' Guild. 

Dr. Louis K. Anspacher, playwright, actor 
and lecturer, voicing the sentiments of the 
Guild, said that "if the theatre is being de- 
bauched, the public is doing it." 

Thomas Brady Dies in Toronto 

Thomas Brady, former Fox and MGM 
representative in Buffalo, died in Toronto 
this week of a heart attack. He was 50 
years old. Mr. Brady was associated with 
Regal Films, Canadian distributors for Gau- 
mont British and London Films. 


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322CH KFV 137DL 


Form 2 




March 2. 1935 





Jack Ross, hustling secretary and traveling 
companion to Carl Lammle, Senior, some day 
will write a book of reminiscences and will in- 
clude incidents which occurred on his globe- 
trotting with Lammle pere. One of the most 
dramatic, and one which neither Laemmle nor 
Ross will ever forget, was their meeting in 
Vienna last summer with Engleburt Dolfuss, 
chancellor of Austria. 

Upon being formally introduced in the chan- 
cellor's chambers, Dolfuss' greeting was, "I 
am glad to see another man as short as I am." 
Laemmle, in fact, towered at least an inch 
above the "vest pocket" dictator. Despite that 
appellation, however, there was nothing of the 
dictator's demeanor about Dolfuss ; he • was 
friendly, human, sympathetic. 

The big kick to "Uncle Carl" came at the 
state reception and dinner given by Dolfuss in 
his honor. Laemmle was impressed that the 
Franz Josef service in silver was used. The 
blue room of the Imperial Hotel in Vienna, 
scene of the dinner, still retained the regal 
trappings of monarchy. During the evening 
Ross tried hard to appear properly nonchalant 
and as matter-of-fact as the 22 leaders of the 
industrial, financial and civic life of Austria 
assembled to do honor to the man who left 
Laupheim, Germany, 68 years ago last month, 
to become a motion picture pioneer and a lead- 
ing American producer. The dinner was de- 
layed an hour because of a conference of state 
which required the chancellor's presence. Those 
were tense, troublous days for the little repub- 

The dinner was on the evening of July 3rd. 
A few days later, at Carlsbad, Laemmle was 
shocked upon receiving word that the Little 
Napoleon had been murdered in the abortive 
and now historic Nazi "putsch.'' 


There is a sea food restaurant in Chicago, 
relates Mark Hellinger, that boasts in its ad- 
vertising that they serve anything that sivims. 

A siueet young thing walked in there the 
other night, and zvhen the waiter asked her for 
her order, she told him to bring her Johnny 
W eissmidler ! 


Eddie Dowling, who rose from cabin boy 
on the ill-fated Lusitania, to star, writer and 
producer of musical comedies, motion pic- 
tures and radio shows, was one of 17 chil- 
dren. Broadway Eddie and White House 
Franklin are pals. 


The Brothers Warner announce as their next 
feature motion picture : "The Irish In Us." 

Sophie Tucker, self-styled "Last of the 
Red Hot Mammas," last week very non- 
chalantly tossed five years into the ashcan. 
Notifjdng the press of the arrival of her 
birthday, Sophie admitted that she was just 
turning 46, whereas there are records which 
say she is 51. Our life won't be worth a 
nickel when Sophie see this. 


Little acorns from big oaks : 

"People shouldn't expect actors to look like 
human beings." — Phillips Holmes. 

"I want to be a millionaire and Jmve about 
16 children." — Ginger Rogers. 

"If I were a woman I'd hold myself slightly 
in reserve zvith men. As for petting, that's all 
right if one is sincere about it, but the danger 
lies in being sincere too often." — Clark {Screen 
Lover) Gable. 

"I'm always so disappointed when I see my- 
self on the screen that I'm sick afterward." — 
Tom Brown. 

Lead Gus McCarthy, 
Kindly Light 

A BEACON LIGHT shines day and night 
atop the El Capitan theatre in Hollywood. 
It shines whether the theatre is operating or 
dark, and it has been shining for seven years. 
C. A. Toberman, local realty man with a soul, 
figures it is good civic advertising. And therein 
lies a story. 

Some years ago Gus McCarthy, now on the 
editorial staff of Quigley Publications in 
Hollywood, was writing publicity and otherwise 
press-agenting for the Ocean Park Pier on the 
California seacoast. One day into his office 
came a representative of the Paul D. Howse 
Neon Electric Company. He told Gus a grand 
tale of a beacon his company had developed 
which would penetrate the night for 75 miles. 

Ocean Park Pier has a unique location — 
the entire United States of America standing 
behind it on the east and the whole Pacific 
Ocean from the South Pole to China facing on 
the south and west. But, unfortunately for the 
75-mile visibility possibility, there is a range 
of hills completely shutting off the pier from 
the hinterlands, and Gus couldn't see that this 
beacon would do the enterprise any good on 
the sea side, where, he figured, the flying fish, 
the whales and other denizens of the briny 
deep would be the only ones to ever see it. So 
he turned the proposition down flatly. 

The pier, then, as now, was owned by Adolph 
Ramish, Abe and Mike Gore, Sol Lesser and 
George Cleveland, gentlemen of whom we have 
heard a lot in motion picture circles. Unknown 
to McCarthy the fast-talking beacon salesman 
had gone over his head right to the front. 
And did the owners enthuse. Paul Howse him- 
self visited them and laid it on thicker, telling 
the gentry that the Navy was installing a sim- 
ilar beacon either at New London or Baltimore 
or some place on the east coast. Anyway, Mr. 
Howse agreed to pay the expenses of Mr. 
Cleveland and Gus McCarthy for a trip east- 
ward to see the light in operation. They went, 
but never saw the beacon, or even knew where 
it was located. They had other and more inter- 
esting things to do in Monreal. 

One month later Mr. Cleveland and Mr. 
McCarthy returned to Ocean Pier and related 
to the owners a glowing report of that which 
they hadn't seen; also the further news that 
the thing would cost many thousands of dol- 
lars. That cooled the ardor of the prospective 
purchasers and they prevailed upon Mr. Howse 
to make a miniature model. He did. One about 
ten feet tall in full working order. 

Meanwhile, Mr. Cleveland died, the depres- 
sion came along, cash became scarce and Ocean 
Pier retrenched. The model stood in Gus's 
office until he got tired looking at it. Then 
everybody took to DX radio reception, Mc- 
Carthy included. Ray Melling, projectionist^ in 
the Dome theatre, made him a set. Looking 
around the Pier grounds for an aerial, Melling 
decided that the beacon model would be just 
the thing. And it was. 

Time passed and lo and behold who should 
walk into McCarthy's office again but the origi- 
nal neon beacon salesman looking for his model. 
"Naturally I didn't know a damn thing about 
it," Gus told us, not expecting that we would 
believe him. There was much hue and cry 
about that model. They had a customer lined 
up for the beacon and had intended to demon- 
strate. Anyway the sale was made without it 
and the purchaser was Mr. C. A. Toberman, 
Hollywood realty man with a soul, who placed 
it atop his El Capitan theatre. That was seven 
years ago and there the light has been shining 
nightly, shining brightly ever since. 

The first change to be made by Ernst 
Lubitsch in his new position as production head 
over all of Paramount's picture making activi- 
ties was to change the title of Mae West's "How 
Am I Doing?" to "How Am I Doin?" 


Emile Boreo, newest Broadivay importation 
from Paris, once faced a firing squad of the 
C::ar's army. A Cossack officer, unaware of 
the purpose of the assemblage, happened along 
and, noticing Boreo giggling, "punished" him 
by ordering him from the line and sending him 
back to his quarters. That's his story. 

Eagle-eyed Cornelius 'Vanderbilt, Jr., says 
"The President Vanishes" is so full of inac- 
curacies that it will grive Washingtonians 
lots to laugh about. For instance: The ser- 
vants at the 'White House, except for the 
Chief Usher, are all colored; no one can 
enter or leave the 'White House, including 
the President and his family, without passing 
the 'White House police, a uniformed body; 
no member of the Presidential party, includ- 
ing the President, is ever alone. The Secret 
Service has operatives with them constantly. 
The Vice-President becomes President pro- 
tem automatically when the President is 
out of the country. The President's aides 
stand rigidly at attention at all times in 
public. They never applaud the President. 
The President's secretary seldom accom- 
panies him to functions, and if he does he 
never leaves the President. His secretary 
answers the phone — the President's secre- 
tary's secretary. There are no skyscraper 
garages in Washington. The Secretary of 
War never conducts a civilian investigation; 
that is done by the Bureau of Investigation. 

Motion Picture Fan Vincent Yardum, Jr., 
New York, wrote to Photoplay Magazine's 
Kathryn Dougherty complaining that when 
Carole Lombard was doing her fan dance in 
"Lady By Choice," she put both of the fans in 
front of herself. And in back of her was the 
whole orchestra. "Please watch these things," 
advised Mr. Yardum. They probably did. 

Buster La Mont in California bemoans 
the loss of his servant, Eli Balongag, whom 
Victor Varconi swiped from him. Eli handed 
Victor the following note and then scram- 
bled back into the butler's pantry with great 


Before I should dwell on the subiect that 
I wish to communicate to you, please pardon 
me if I had done something wrong and did 
things to displease you. 

I have been in Los Angeles about six years 
and never was I out of a iob for a week. 
I have worked for several peoples and never 
was I happy and treated kindly and nicely 
the way you do to me Dear Mr. and Mrs. 
La Mont. This is the main reason why I 
cannot tell you in person the following: 

I have the honor to resign as your house- 
boy Friday, currant series. 

But before I will go away I cordially en- 
vite you to a little suffer party in your lovely 
home on Thursday evening at eight o'clock. 
Please have Junior come and eat with you 

Always at your service. 



City hospital nurses of Martins Ferry, Ohio, 
have asked Clark Gable to furnish a room in 
the maternity ward. His name would "add 
romance to the life of student nurses," they 



March 2 , 1935 


Tobis-Klangfilm Fees for Studio, 
Recording, Negative Licenses 
Take One-Third of Budget 


Berlin Correspondent 

Cost of rental of studio facilities and re- 
cording equipment plays an important part 
in production budgeting in Germany. While 
in several European countries high import 
duties and taxes are bidding fair to prohibit 
importation of American product, and in 
other nations imports are closely linked with 
home production in the form of socalled 
quota films, Germany's case is different. 
For example, MGM and Paramount are 
confining their activities to importation and 
distribution, Fox has undertaken local pro- 
duction and as a consequence is enjoying 
considerable advantage in bringing in pic- 
tures from America. 

The average cost of production of a fea- 
ture in Germany ranges from reichsmarks 
200,000 to 300,000. Large companies like 
Ufa and Bavaria have their own studios, 
and Terra Film company also has a small 
studio, but most producers must rent studio 
facilities from Tobis Film A. G. or other 
large producers. The average rental charge 
for a studio for a day is reichsmarks 2,500; 
with the shooting of interiors requiring 10 
to 15 days on the program picture, the studio 
rent piles up to reichsmarks 25,000 to 37,500. 

One-Third of Budget for Fees 

The monopoly of the Tobis-Klangfilm 
group on film recording makes it necessary 
for the producer to rent a recording set from 
this group at a charge of reichsmarks 1,350 
a day. The service of a trained engineer is 
included in this charge. Ten days in the 
studio and 10 days use of the recording set 
combine to make a rental cost of reichs- 
marks 38,500. This figure is enlarged by 
the Tobis licenses on the negative — reichs- 
marks 4.37 a meter. In the case of the me- 
dium length of 2,500 meters, the Tobis li- 
cense on the negative amounts to reichs- 
marks 10,925. Almost 15,000 meters of posi- 
tive and negative film stock will be con- 
sumed, absorbing an additional cost of 21,- 
500, including the printing and copying. 

These costs, totaling reichsmarks 70,925 
($17,000 at par), are nnore than one-third 
of the total outlay for the making of a 
motion picture at a budget of 200,000 
reichsmarks ($48,000). 

Furthermore, these outlays are pre- 
charged against the still unfinished produc- 
tion and in no way guarantee the quality or 
the box-office value. 

Changing Studio Recording 

The producer must leave the stage at the 
termination of the contract because in most 
instances another producer has hired the 
studio. Should the first producer's picture 
not be ready it is necessary to rent a second 
studio and to use a recording set which, 
technically speaking, may not fully and ex- 
actly correspond to the first used, thus caus- 

ing deviations in the recording and result- 
ing in inadequacy of the sound record. 

Too often do these complications and bur- 
dens upon production, caused by the Tobis 
monopoly, impair the quality of the picture, 
which, in observance of contract, is made 
without the constant care and caution so 
necessary. While in France most of the 
more successful pictures come from minor 
producers, only the large German companies 
can afford to meet the conditions and stipu- 
lations in the planning of production. 

The German exhibitors, who become im- 
mediately responsible to the public for the 
worth of a picture, are vitally interested in 
the quality of films they book. The patent 
companies are showing no inclination to 
reduce royalties— they will get their license 
fees anyway. The producers, and ultimately 
the exhibitors, are paying for the damage 
done to pictures by producing conditions. 

Germany Defines 
Educational Films 

The German federal film chamber has de- 
fined educational subjects in terms of length 
and content, according to a report to the de- 
partment of commerce from Douglas Miller, 
acting commercial attache in Berlin. Edu- 
cational films must not be longer than 600 
meters (about 2,000 feet), or, if no other 
picture is to be run with it, more than 1,200 
meters. Educational films are defined as 
films that do not contain any consecutive 
action, and for the sake of which alone the 
picture was made. They may not contain 
news features exclusively for the purpose of 

Germany Prohibits New 
Construction of Theatres 

The president of the Film Chamber in 
Germany has prohibited the construction of 
new film theatres, according to Douglas 
Miller, acting commercial attache in Berlin, 
reporting to the Department of Commerce. 
Reopenings have also been banned. The 
prohibition will hold until March 31, 1935, 
with exceptions allowed only in cases where 
the opening of a theatre appears necessary. 

7,000 Engaged in Film 
Production in Germany 

There is a total of 7,000 people concerned 
with film production in Germany, accord- 
ing to advices from commercial attache 
Douglas Miller, Berlin. Of the total, 6,000 
are located in Berlin and 1,000 in Munich. 
All are organized in the Film Estate and are 
divided into 17 sections. Five thousand are 
actors, of whom 1,500 are extras, whose 
ranks have been cut 50 per cent in the last 

DuWorld Gets New Film 

DuWorld has acquired North and South 
American distribution rights to a musical 
now being produced in Vienna, and tenta- 
tively titled "Viennese Love Song," in 
which Maria Jeritza is starred. 

"March of Time'' 
Propaganda^ Says 
Omaha Paper 

The Omaha World-Herald, in an editorial 
touching upon the first appearance of the 
"March of Time" newsreel that played the 
old World here two weeks ago, "doubts 
whether the editors of flippant Time (maga- 
zine) are the best equipped to present to 
movie audiences doctored interpretations of 
events of the day." 

"The reel was interesting," the editor 
went on, "but the thoughtful spectator must 
have become aware of the fact that he was 
seeing, not just a picture of a news event, 
but an interpretation of the meaning and 
significance of the event. Unless he was 
alert, the moviegoer was unconsciously sub- 
mitting himself to propaganda. 

"A newspaper worthy of the name re- 
ports events in an accurate, fair and impar- 
tial manner. The reader is trained to turn 
to the editorial page for the expression of 
opinion as to the meaning of the event. 
There is no such clear division of news and 
editorial in 'March of Time,' although it is 
presented as a news photograph only, and 
nowhere is it captioned as news with edi- 
torial interpretation. 

"Much more dangerous . . . than telling 
the public of possible danger in movie 
scenarios which present . . . crime and im- 
morality in attractive garb . . . (are) the 
newsreels that give more than an accurate 
picture of striking events. A skillfully edi- 
torialized presentation of the news could be 
very powerful in influencing and inflaming 
public opinion." 

The Omaha. World-Herald in its quoted 
expression takes no cognizance of the fact 
that there is inevitably an editorial or 
"propaganda" point of view in all news 
narration, whether by printed page or 
screened fncttire. The very selection of the 
material to be presented, the choice of the 
news, or the decision of what is news, is 
affected by opinion, an editorial attitude. 
The reporter writing his story, even for 
the Omaha World-Herald, "sells" a point 
of view which begins with the opinion that 
it is worth telling and that the facts worth 
telling are in the words he sets down. So 
far as may be judged concerning the 
policies of "The March of Time" on the 
screen, paralleling rather the policies of 
Time of the printed page, one may ex- 
pect to find their editors and their utter- 
ances engaged in hectic pursuit of audience 
and very little else. 

Concerning the fabrication technique of 
"The March of Time" the World-Herald 
becomes slightly amusing when it observes: 
"A skillfully editorialized presentation of 
the news could be very powerful in in- 
fluencing and inflaming public opinion." 

It would be educational for the author 
of that editorial to examine into certain 
journalistic aspects of the Spanish-Amer- 
ican war and sundry operations of the 
press in the period of the World war. The 
answer is of course, "Yes," but does it 
matter whether the editorializer has a lino- 
type or a camera? — TR 

March 2 , 1935 




A NEW SET. (Above) For Frank 
Shields, whose new MSM 
player contract permits no ex- 
ploitation of his top-notch ten- 
nis ranking. 

DIAMOND JIM. (Left) As the 
famed character, impersonated 
by Edward Arnold in Universal's 
film, meets Author Parker Morell, 
raconteur of the Brady story. 

FROM VIENNA. (Right) Luise 
Rainer, well known in Europe, 
en route to hlollywood and 
MSM's studio. 

> - t 

"GREAT ARTIST." Thus did his co-workers In 
Fox's "The Little Colonel" describe Bill Robin- 
son, famous tap dancer. Note the be-badged 
lapels, each token indicative of yet another bit 
of homage from some community or other. 

DISTINGUISHED VISITORS. From V\/ashington, at the Vv'arner Coast studio 
recently, were Federal Housing Administrator James A. Moffett and his family. 
Showing them another kind of housing were two studio executives. From left to 
right: Miss Adelaide Moffett; V/illlam Koenig, general studio manager; Mr. Mof- 
fett; Hal B. Wallis, associate executive in charge of production, and Mrs. Moffett. 



March 2. 1935 

(Above) Is Skippy, quite a 
screen player and here 
studying his role with Wendy 
Barrie of England, both im- 
portantly a part of the cast 
of Fox Film's "It's a Small 

FEATURED. (At left) Miss 
Louise Henry, cast by MSM 
in one of the leading roles 
of "Order, Please!" shortly 
to go into work. She has 
just completed work in "The 
Casino Murder Case." 

ALMOST A COMMUTER. Between Hollywood and London is 
Charles Laughton, English player, here in New York en route to 
London and conferences with Alexander Korda, having just com- 
pleted "Les Miserables," for Darryl Zanuck's 20th Century, which 
United Artists will release. Mrs. Laughton is with him. 

WRAPPED UP IN HER TEA. Is Miss Elsa Lanchester, English 
actress, in an off-the-set moment at the Universal studio, where 
she has the unenviable, and warm, role of the mate of the 
Frankenstelnian monster, which Is Boris Karloff, In "The Bride 
of Frankenstein." 

A SHOOTING STAR OF THE AIR. Wiley Post, at the moment 
planning another attempt at almost stratosphere streaking across 
the country, visits Margaret Lindsay and Warren William on 
location on the Coast, where the Warner film, "The Case of 
the Curious Bride," Is in work. 

March 2, 1935 



Films in Relief by 
Stereoscopic Plan 

Shown byLumiere 

Motion pictures in relief, obtained by ap- 
plying a stereoscopic system to the principle 
of anaglyphs, were demonstrated in Paris 
Monday to the noted Academy of Sciences 
by Louis Lumiere, who with his brother 
Auguste presented some 40 years ago the 
first motion pictures seen in the French 

Mr. Lumiere, making no great claim to 
originality, explained that all the principles 
involved have been known for many years. 
What he has succeeded in doing, he said, 
is the obtaining of a perfect synthesis. 

A wireless dispatch to the New York 
Times from Paris told how all the spec- 
tators at the demonstration were provided 
with special spectacles, each glass of which 
was tinted in different colors permitting the 
passage of various color rays. "Experi- 
ments were made with no fewer than 1,500 
coloring materials before success was ob- 
tained in making these glasses, without 
which the picture on the screen appears as 
usual and not in relief," explained the Times 
correspondent, who added: "What is impor- 
tant is that the glasses do not fatigue the 

A stereoscopic apparatus was used for 
taking the motion pictures and a specially 
pigmented screen employed. 

Further cabled reports said that the gray- 
bearded, dignified savants of the Academy of 
Sciences started from their seats while wit- 
nessing the demonstration when they thought 
they saw a real elephant charging at them. 
They first saw racing motorboats, cruising 
off a coast — then the elephant, waving his 
trunk so menacingly he looked as though he 
was going to trample the academicians under- 

Mr. Lumiere, now turning 73 years, was 
said to have told the Academy that the ad- 
vance he has made provides the basis for 
practical application of the long-sought se- 
cret of depth as well as height and width 
for motion pictures, thereby making them 
more realistic. 

Edwin F. Tarbell of 
Allied, Dies in Albany 

Edwin F. Tarbell, for the past two years 
executive secretary of Allied Theatre Own- 
ers of New York, died late last week at the 
Albany Hospital, Albany, N. Y., after a 
brief illness. Mr. Tarbell had been asso- 
ciated with the film industry for 25 years, 
having been branch manager for Vitagraph, 
Fox and Universal. 

Edith Mera, French 
Actress, Dies in Paris 

Edith Mera, French stage and screen ac- 
tress who attempted suicide last Spring be- 
cause of a morbid fear her customary 
"vampire" roles were exerting an evil in- 
fluence over her, died last week in Paris, 
following an operation. Only 27, she was 
recognized as a player of ability, and had 
performed before the Hollywood cameras. 

"Q ?2 ^ 

s a i ^ i 

FEB. 9 










/ / 
/ / 

/ / 











^ \ 



1 . 



V-t — 




The chart, based on Motion Picture Herald's compilation of box office grosses, 
indicates the business done^n each of three Western key cities during the eleven 
weeks period from December 8, 1934, to February 16, 1935. The gross in the 
first week of this period In each city Is taken as 100 per cent for that city. 

Reports Persist^ 
Laemmle Denies 

Reports persist as to possible deals for 
the purchase of a controlling interest in 
Universal Pictures Corporation, but there 
is an emphatic denial of any sale issued 
this week in Hollywood by Carl Laemmle. 

"Twenty years ago on March 15 we 
opened the largest studios in the world at 
Universal City," said Mr. Laemmle. "We 
have been far too successful and have 
learned far too much by experience there 
to dispose of this property on our anni- 
versary or any other time.'' 

At the present time, it is learned, three 
propositions haA'e been made, the first hav- 
ing been an offer extended by a group 
headed by John Hay "Jock" Whitney. It 
is understood that this represents the larg- 
est cash offer thus far advanced. David 
Selznick is said to be associated with Mr. 
Whitney in the matter. 

The second offer is one presently headed 
by Albert M. Greenfield of Philadelphia, 
with whom B. P. Schulberg is associated. 
The appearance of Mr. Greenfield in this 
negotiation tends to lend credence to the 
reports that William Fox is interested in a 
possible Universal deal because on many 
occasions and for many years Mr. Fox and 
Mr. Greenfield have been on intimate terms 
and have participated jointly in many deals. 

The identity of the third group said to be 
interested in a purchase is not revealed at 
this time, however. 

The president of Universal said that 
"Universal, like Old Man River, it just 
keeps rolling along." 

English Circuit 
Plans Expansion 

Union Cinemas, English circuit headed 
by Fred Bernhard, plans to build seven large 
theatres, several of them to seat 3,000, the 
locations including Bath, Belfast and Hud- 

Leo^ Metro 's Lion^ 
Is Dead at Twenty 

Leo, the lion, is dead. The famous and 
widely publicized animal succumbed to heart 
disease on Monday in the Philadelphia Zoo 
at the age of 20. Metro-Goldwyn-Mayer, 
for whose pictures Leo served as emblem 
and who kept him traveling for more than 
15 years over the country and through 
Canada and Mexico, have not yet completed 
plans for the funeral. 

Leo was captured at the age of one on the 
Nubian deserts of Africa and brought to 
America for exhibition in zoos. Hollywood 
took him and he appeared in bits in jungle 
pictures. His career reached its climax 
when he was chosen as the Metro-Goldwyn- 
Mayer trademark. In the silent days he did 
no more than turn his head at the opening 
of each picture. With the coming of the 
talkies, his roar became a familiar sound 
to millions. 

For more than 15 years Leo was kept 
touring in a trio of specially designed and 
constructed cars. His own car, a speed 
truck, measured 24 feet over all, with a pri- 
vate cage of 13 feet, silver bars to the cage, 
unbreakable glass three feet high on all 
sides and canvas drops that could be low- 
ered in bad weather. The decorations were 
in red and gold. The second of the three 
cars was a completely equipped office for 
Leo's business manager; and the third con- 
tained a 57-note calliope. 

He was an honorary member of more than 
200 Lions' Clubs and of numerous Adven- 
turers' and Explorers' Clubs. Leo, in spite 
of his extraordinary weight of 734 pounds — 
the average male lion tipping the scales at 
500 — traveled in every known conveyance 
in addition to his private car. He was the 
first lion to be transported in an airplane. 
He was also a passenger on steamships, 
trains and oxcarts and once was slung across 
a camel's back to take him across the desert. 

Officials of Metro-Goldwyn-Mayer are en- 
gaged in the search for a successor to the 
late Leo. 



March 2, 1935 


The President of the Republic of Peru has had sound reproduction equipment 
installed in the Palace and American motion picture showings are contributing to 
the social season. At a recent screening of Warner's "Fashions of 1934" were 
(left to right) M. Prado of Western Electric; General Oscar R. Benavides, Presi- 
dent of Peru; and J. J. Fisher, Warner - First National's manager for Peru. 

Safety Regulations, Films Act 
Revision, Censorship, Labor 
and Tax Issues All Attract- 
ing Serious Attention 


London Correspondent 

At no time in the history of the British 
industry have problems of government en- 
gaged more of its attention than at the pres- 
ent moment. Control of the trade from 
without and regulation from within have be- 
come matters of controversy almost simul- 
taneously. There is little connection be- 
tween them, but their common result will be 
that association leaders and other public 
spirited persons will spend a terrific amount 
of their spare time in 1935 in conference. 

Externally, the trade faces a very obvious 
determination on the part of the govern- 
ment to extend its paternal interest in film 
matters. Here are a few matters which may 
bring Wardour Street closer to Whitehall 
in the near future : 

1. New Safety Regulations 

2. Films Act Revision 

3. Censorship 

4. Labor Conditions 

5. Entertainment Tax 

As regards some of these matters there 
is definite official intention to legislate. It 
is certain that the Home office intends to 
bring non-inflammable film under control 
by making it subject to safety rules. 

Receives Union Delegation 

More ominous from the point of view of the 
exhibitor is that Sir John Gilmour, Home Sec- 
retary, has now actually received a deputation 
from Trade Unions which urge that any re- 
vision of regulations shall include official con- 
trol of terms of employment. As their contribu- 
tion to the policy of complete regulation of the 
trade, these bodies ask : minimum wages ; 
maximum hours ; attendants in proportion to 
patronage ; minimum age for operators. 

Whether or not they ultimately succeed, the 
unions have scored an initial hit ; Sir John 
has promised to send them a draft of his new 
regulations in order that they may suggest 
amendments for consideration. 

On the other hand, the unions, in their com- 
ment, did not emphasize the fact that he had 
declared control of wage scales is a matter 
outside his functions. 

Another matter which will lead to extended 
discussion is revision of the Films Act, on lines 
of more rigid control of block booking and a 
more stringent quota qualification. Shortage of 
Parliamentary time may well postpone it until 
after the General Election, which may give 
us a government of quite a different com- 

The Institute and Censorship 

On censorship the government maintains its 
attitude of letting well alone, the "well" indi- 
cating the official view of the way in which the 
British Board of Film Censors performs its 
duties, but there is no saying when its hand may 
not be forced. The semi-official British Film 
Institute last week announced it is prepared 
to issue "vouchers of approval for non-fictional 
films, recording their accuracy and value for 
educational and cultural purposes." Use of this 
service, of course, would be voluntary, but the 
step suggests an interesting future extension of 

censorship, despite the Institute's emphatic dis- 
claimer of any intention to censor at all. 

What the industry wants is word that the 
Institute will stay out of the censorship field. 

There is only one date with the government 
from which only the happiest results are ex- 
pected. That is the get-together with the Chan- 
cellor of the Exchequer to find out whether he 
intends to make good his last year's half 
promise of a remission of taxes. 

The deputation has been put back at the 
Chancellor's own request in order that he may 
be advised of the state of the national balance 
sheet when he meets the trade, and this is re- 
garded as a good omen in Wardour Street, 
where the view is that there will be a surplus 
and that the trade will get its "free sixpennies." 

Within the trade itself there are outstanding 
problems in plenty. This week was held a joint 
meeting of the Kinematograph Renters' So- 
ciety and the Cinematograph Exhibitors' Asso- 
ciation. The exhibitors put forward specific 
proposals covering : 

Extension of "small exhibitor" preferen- 
tial renting terms to theatres in which the 
average receipts do not exceed £175 a 

Inquiry into the "restricted credit" plan, 
by which certain exhibitors are required to 
pay bills within limited periods. (The 
penalty of default is withdrawal of supplies 
by ail renters); 

Agreement on a Standard Contract; 

Means to control overbuilding. 

It has been announced that the CEA, if neces- 
sary, will take its grievance to Whitehall and 
ask for legislation on the grounds that foreign 
(meaning American) companies are employing 
harsh trading methods. 

A month hence the Capitol, in the Hay- 
market, London, will be in the hands of house- 
breakers. In December, when the new Capitol 
opens, it seems likely to be the most up-to-date 
super in the West End. Provision for tele- 

vision film projection will be one of its out- 
standing features. There will also be a base- 
ment swimming pool which will become a 
skating rink in winter and which will be con- 
vertible into a general sporting arena at any 

The Capitol, one of the General Theatres 
properties, controlled by Gaumount-British, has 
not ranked among its best London theatres. 

The new Capitol almost inevitably will be- 
come a long run house in direct competition 
with Paramount's Carlton and Plaza, MGM's 
Empire and United's London Pavilion. 

Beverly Baxter, director of public relations 
to Gaumont British, gave vent in Glasgow to 
a dictum which seems to foreshadow a revolu- 
tionary change of mind of British producers, 
unless he bespoke only his personal views. The 
home market, he said, was being killed by the 
"quickie," and the responsibility rested on— 
no, not on the American distributor, but on 
the Films Act! 

"Britain does not need protection from Hol- 
lywood" was one of his remarks, but the official 
policy of British producers always has been 
that more protection was wanted. Legislation 
to provide it is believed to be in existence. 
Undoubtedly GB, London, British & Domin- 
ions, and any other producing organization 
which has the pluck to go for world markets, 
gains very little from the British quota. Their 
films book in England, on their merits, very 
much in excess of quota requirements. 

New Producer Gets Going 

British National Films, Ltd., which was in 
the news lately by reason of its plans for the 
super-production of "Cecil Rhodes" and "Mary, 
Queen of Scots," is to become active soon with 
an adaptation of Leo Walmsley's novel, "Three 
Fevers," Norman Walker directing, and with a 
subject written around the history of "Madame 
Tussaud's," the London wax-work exhibition. 
British National, with the backing of the Rank 
milling millions and with Lady Yule, also a 
millionairess, associated, was announced as hav- 
ing a world release through Gaumont British. 

March 2 , 1935 




Following are the nai7ies of 302 ex- 
Jjibitors and representatives of prodticers, 
distributors, equipment manufacturers, the 
motion picture trade press and other 
branches of the industry who were among 
those in attendance this week at the 15 th 
annual convention of the Motion Picture 
Theatre Owners of America, at New 


J. Don Alexander, Alexander Films, Colo- 
rado Springs. 

Alicoate, Charles, Film Daily, New York. 

Alicoate, Jack, Film Daily, New York. 

Alexander, H. H., exhibitor, Belzoni, Miss. 

Ansell, Louis, Ritz and Midtown theatres, 
St. Louis. 

Auger, Edward, RCA Photophone, Camden, 
N. J. 

— B— 

Baker, P. M., New Orleans. 
Ballance, Harry, Atlanta. 
Balwin, C. F., exhibitor, Des Moines. 
Balhorn, George, Milwaukee. 
Barr, Maurice, Saenger Theatres, New 

Barrett, Martin H., New York. 
Bell, F. Homer, Atlanta. 

Belshe, E. B., exhibitor, Forest City, Ark. 
Benedic, Jules A., exhibitor, Atlanta. 
Benton, William, circuit owner, Saratoga, 
N. Y. 

Berinstein, Benjamin, exhibitor, and vice- 
president, MPTOA, Los Angeles. 

Bernheimer, Louis, Washington, D. C. 

Berry, H. R., exhibitor, Hartsville, S. C. 

Beveuson, A., New Orleans. 

Bissinger, L. G., exhibitor, Dallas. 

Blackman, G. M., Smith Film Service, 

Blair, Robert, New Orleans. 

Blanco, A., exhibitor, Sunnyvale, Cal. 

Bloch, M., State theatre. New Orleans. 

Blount, N. B., New Orleans. 

Boiler, Robert, Kansas City. 

Brannon, Thomais, Atlanta. 

Briant, C. J., New Orleans. 

Bromberg, A. C, distributor, Atlanta. 

Brown, Colvin, vice-president, Quigley Pub- 
lications, New York. 

Brown, E. T., New Orleans. 

Brown, W. Cleveland. 

Brylawski, A. Julian, circuit owner, and vice- 
president, MPTOA, Washington, D. C. 
Buckwalter, H. C, New Orleans. 

— C— 

Callahan, George F., Exhibitors Delivery 
Service, Pittsburgh. 

Carter, N. L., New Orleans. 

Casanaive, Charles, exhibitor, New York. 

Cauger, A. V., Cauger Service, Inc., Inde- 
pendence, Mo. 

Chadwick, A. E. Motion Picture Advertising 
Service, New Orleans. 

Chartier, Roy, Variety, New York. 

Clark, John D., general sales manager, Fox 
Film, New York. 

Clarke, James, president. National Film Car- 
riers, Philadelphia. 

Clemmons, Joseph, Jefferson Amusement 
Company, Beaumont, Tex. 

Coleman, E. B., MGM sales representative. 
New York. 

Conner, Luke, New Orleans. 

Conrow, L. W., Electrical Research Products, 
New York. 

Crim, L. N., exhibitor. Lake Charles, La. 

Cummings, Samuel, independent distributor, 
New York. 


Experiments being carried on by 
Gaumont British and Imperial Chemi- 
cal Industries indicate that stereo- 
scopic films will be available for pub- 
lic exhibition in two years. One sys- 
tem which is said to have proved suc- 
cessful involves embedding in the film 
itself two separate lenses and also re- 
quires a special screen. A second 
process concerns printing of two 
views of the same scene on the same 
positive film. — B.A. 

— D— 

Day, Harvey B., sales representative, Terry- 
Toons, New York. 

Delacroix, Lionel, exhibitor, Plaquemine, La. 

Dembow, Sam, National Screen Service, New 

Demharter, Anton, New Orleans. 
Denniston, Mrs. J. D., exhibitor, Monroe, 

Denniston, R., Jr., exhibitor, Monroe, Mich. 

De Stefano, Arthur, Memphis. 

Dietz, Howard, advertising director, MGM, 

New York. 
DoUe, Fred J., exhibitor, Louisville. 
Dossett, Mrs. Stanton, exhibitor, Cameron, 


Duke, H. O., Atlanta. 

Duncan, L. J., exhibitor, West Point, Ga. 
Duncan, N. £., sales representative, RCA 

Photophone, New York. 
Duport, Raymond, New York. 
DuvEill, Duke, New Orleans. 

— E— 

Eair, AI, sales representative, Alexander 
Films, Colorado Springs. 

Eddy, Arthur, Film Daily, New York. 

Eddy, Nelson, actor, MGM, Culver City. 

Edwards, Jack, New Orleans. 

Einfeld, S. Charles, director of advertising, 
Warner Brothers, New York. 

Elkin, W. E., exhibitor, Aberdeen, Miss. 

Emanuel, Jay, Philadelphia Exhibitor, Phila- 

Estes, Joseph, New Orleans. 

Ezell, Claude C, Independent Film Distribu- 
tors, Dallas. 

Ezell, John, southern district sales manager. 
Universal Pictures, Atlanta. 

— F— 

Fair, Al., New York. 

Fay, Edward M., exhibitor. Providence. 

Feinberg, J. George, New York. 

Feist, Felix, general sales manager, MGM, 

New York. 
Fischer, Al., Philadelphia. 
Fisher, Al, Philadelphia. 
Flam, George, exhibitor, Winnsboro, La. 
Fordyce, Ed. M., Selma, La. 
Francis, James E., general manager, RCA 

Photophone, New York. 

— G— 

Gerson, Philip, Philadelphia. 

Gilboy, Thomas W., San Francisco. 

Giles, George, exhibitor, Boston. 

Gillham, Robert M., director of advertising. 

Paramount Publix, New York. 
Goldberg, Aaron, exhibitor, San Francisco. 
Goodman, R. J., exhibitor, Starkville, Miss. 

Goodrow, Fred' F., New Orleans. 

Gordon, Julius, Jefferson Amusement Com- 
pany, Beaumont, Tex. 

Gordon, Sol, Jefferson Amusement Company, 
Beaumont, Tex. 

Graham, Harry, midwestern district sales 
manager. Universal Pictures, Kansas City. 

Grainger, James R., general sales manager, 
Universal Pictures, New York. 

Gregg, J. J., Charlotte, N. C. 

Gregg, William Walter, Charlotte, N. C. 

Griffith, L. C, circuit owner, Oklahoma City. 

Griffith, Walter, Charlotte, N. C. 

Grimsley, V. M., Railway Express Agency. 

— H— 

Hamilton, A. T., exhibitor, Alexandria, La. 

Hamm, L. S., exhibitor, California, and rep- 
resenting Independent Theatre Owners. 

Hammons, E. W., president. Educational Pic- 
tures, New York. 

Hansell, B., sales representative, Fox Film, 
New York. 

Hardin, Ruth, Picquet Theatres, Pinehurst, 
N. C. 

Hardy, Gerald, exhibitor, Fresno, Cal. 
Harris, Buddy, Alexander Film, Colorado 

Harvey, H. V., Harvey Amusement Co., San 

Harvey, Julian, Harvey Amusement Co., San 

Haven, L. F., exhibitor, Forrest City, Ark. 
Haynes, T. B., Memphis. 

Hehl, Louis C, treasurer, MPTO of Eastern 

Missouri, St. Louis. 
Heidrich, Frank, Lyceum theatre, New 


Heineman, H. G., Fox Films, New York. 

Heineman, W. J., western district sales man- 
ager. Universal Pictures, Los Angeles. 

Henderson, W. H., United Film Advertising 
Service, Kansas City. 

Herbel, Henry, midwestern district sales 
manager. Universal Pictures, Chicago. 

Herbst, William P., Washington, D. C. 

Hickson, D. C, Washington, D. C. 

Higginbothcim, Arthur, New Orleans. 

Hill, Leon, St. Louis Amusement Co., St. 

Hodges, W. A., National Theatre Supply. 
Holbrook, John, National Broadcasting an- 

Horne, Elmer, Screen Broadcasts, Dallas. 
Huffman, Harry, circuit owner, Denver. 

Immerman, Walter, Chicago. 
Ingram, R. J. 

Jack, Fred M., Dallas. 
Jackson, Mack, Alexander City, Ala. 
Jennison, Florence Tye, Chicago. 
Johnson, O. C, exhibitor. Falls City, Neb. 
Johnson, S. B., exhibitor, Cleveland, Miss. 
Johnson, William, Screen Broadcasts, New 

Jones, Homer C, exhibitor, Alva, Okla. 
Jorman, Joseph, La Grange, Ga. 

— K— 

Kalbfeld, Arthur, Pauline theatre, St. Louis. 
Kann, Maurice, editor, Motion Picture Daily, 

New York. 
Keegan, William, Trenton, N. J. 
Keene, Lionel H., southern district manager, 

Loew's Circuit, Atlanta. 
Kennedy, Edward L., New Orleans. 
Kennedy, H. F., exhibitor, Broken Bow, Nebr. 
Kennedy, R. M., Birmingham. 
Kiefner, Mrs. John, exhibitor, Perryville, Mo. 
King, Burt, Dallas. 

(Continued on folloiuing page) 



March 2, 1935 


(Continued from preceding pane) 

King, P. A., National Carbon Company. 
Knight, J. T., theatre specialist, New York. 
Komm, Sam, exhibitor, CoUinsville, 111. 
Kuykendall, Ed, president, MPTOA, Colum- 
bus, Miss. 
Kuykendall, Jerry, Columbus, Miss. 

— L— 

Lam, J. H., exhibitor, Rome, Ga. 

Lam, Oscar C, exhibitor, Rome, Ga. 

Lesserman, Carl, western sales manager, 
Warners, Los Angeles. 

Leuthstrom, H. H., American Seating Com- 

Levin, Samuel, exhibitor, San Francisco. 
Levy, Edward G., general counsel, MPTOA, 

and counsel, MPTO of Connecticut, New 


Levy, Jules, sales manager, Radio Pictures, 

New York. 
Lewis, Charles, New York. 
Lightman, M. A., president, Malco Theatres, 

and vice-president, MPTOA, Memphis. 
Livingston, E. M., exhibitor, Louisville, Miss. 
Lowenstein, Morris, president of the MPTO 

of Oklahoma and new secretary of the 

MPTOA, Oklahoma City. 
Levy, Ed, general counsel, MPTOA, New 


Ludwig, L. J., Minneapolis. 

Lusken, Al, St. Louis. 

Luskin, J. B., exhibitor, St. Louis. 

Luskin, S., Macklind theatre, St. Louis. 

Lust, Sidney, exhibitor, Washington, D. C. 

— Mc— 

McCarthy, Charles E., advertising director, 

Fox Film, New York. 
McCinaney, M. J., Colorado Springs, Col. 
McCormick, B. P., McCormick theatre. 

Canon City, Col. 
McCoy, C. L., New Orleans. 
McCoy, H. W., New Orleans. 
McCroskey, C. exhibitor, Dermott, Ark. 
McCutcheon, O. W., exhibitor, Blytheville, 


McDougald, B. v., exhibitor, Monticello, 

Mclnemy, Michael, Alexander Films, Colo- 
rado Springs. 

Mclntyre, J. H., Dallas. 

McKinney, Harold, Des Moines. 

McLeod, Harry S., exhibitor, and president. 
Gulf States Theatre Owners Association, 
New Orleans. 

McNeils, R. A., general manager, Golden 
State circuit, San Francisco. 

— M— 

Mann, George, Redwood Theatres, San Fran- 

Marshall, Mrs. Fred, exhibitor, Tupelo, Miss. 
Matreci, A. C, exhibitor, St. Louis. 
Mayer, Joseph, Chicago. 
Maylie, W. H., New Orleans. 
Mercier, A. C, exhibitor, Perryville, Mo. 
Merritt, Charles H., Birmingham. 
Merritt, Frank, Birmingham. 
Meyer, Victor, Orpheum theatre. New 

Michael, J. H., president, MPTO of New 
York, Buffalo. 

Miller, Christopher, exhibitor, St. Louis. 

Miller, E. D., Jr., Plaisance theatre, Chicago. 

Miller, Jack, exhibitor and president, Chi- 
cago Exhibitors' Association, Chicago. 

Miller, L. M., New Orleans. 

Moog, H. B., Atlanta. 

Moore, Mrs. Robert, exhibitor. New Orleans. 
Morgan, Oscar, New Orleans. 
Morris, H. S., New York. 
Moscow, A. M., Columbia Pictures. 

Moscow, M. S., New Orleans. 
Moulder, A. A., Sapula, Okla. 
Muhlman, Charles, exhibitor, California. 
Mullins, D. D., exhibitor, Anguilla, Miss. 

— N— 

Naiffy, Michael, exhibitor, San Francisco. 
Nasser, Albert, circuit owner, San Francisco. 
Nasser, Henry, circuit owner, San Francisco. 
Nathan, Marion, New York. 
Nichols, Harry E., Motion Picture Herald. 
Niece, C. W., exhibitor, Hubbard, Tex. 
Nizer, Louis, counsel. New York Film Board 

of Trade, New York. 
Nolan, B. J., General Register, New York. 

— o— 

Olmsted, L. N., New York. 
O'Rourke, Mona, New Orleans. 
O'TooIe, Helen, assistant secretary, MPTOA, 
New York. 

— P— 

Palfreymiin, David, exhibitor contact, 

MPPDA, New York. 
Parr, George W., exhibitor, Lancaster, S. C. 
Patton, L. S., New Orleans. 
Paul, H. E. 

Pearson, Robert, New Orleans. 
Pickrel, F. B., circuit owner, Ponca City, 

Pizor, Lewen, circuit owner, and represent- 
ing MPTO of Eastern Pennsylvania, Phila- 

Powers, Edward A., New York. 
Prince, Dave, Railway Express Agency, New 

Proctor, Mrs. Laurance, exhibitor, Rome, Ga. 

— R— 

Raines, Halsey, publicity department, MGM, 
New York. 

Reade, Walter, circuit owner, New York. 

Reld, Edwin S., exhibitor, Richmond, Va. 

Robb, Harold, circuit owner, Dallas. 

Robbins, Herman, president, National Screen 
Service, New York. 

Robinson, H. C, Film Truck Service, Detroit. 

Rogers, J. J., New Orleans. 

Rosenbaum, Louis, exhibitor, Florence, Ala. 

Rosenberg, Benjamin, National Screen ser- 
vice, New York. 

Rosenblatt, Sol A., Compliance Director, 
NRA, Washington. 

Rowley, Ed., circuit owner, Dallas. 

Rudolph, Mrs. Mary, Chicago. 

Rudolpher, Morris, exhibitor, Norristown, Pa. 

RufBn, W. F., exhibitor, Covington, La. 

— s— 

Sablowsky, Nathan, exhibitor, Morristown, 

St. Cyr, Ruth, Alexander Film, Colorado 

Sallas, Warren J., New Orleans. 
Samwick, Harry A., New York. 
Sanowsky, M. A., exhibitor, St. Louis. 
Samwick, H. A., American Display Corpora- 

Schnibben, M. F., exhibitor, Florence, S. C. 
Schuersler, H. B., exhibitor, Fairfax, Ala. 
Shutz, George, Motion Picture Herald and 

Better Theatres, New York. 
Segal, Nathan, exhibitor, Washington, D.C. 
Segall, Charles, exhibitor, Philadelphia. 
Shiell, William Jr., New Orleans. 
Shlyen, Ben, Associated Publications, Kansas 


Simms, W. A., Missoula, Monta. 
Skirball, Jack H., Educational Pictures, New 

Sliman, Phillip, New Orleans. 

Smith, Al M., Smith Service, Inc., Minne- 

Smith, F. E., exhibitor, Syracuse, N. Y. 
Smith, Morris, Des Moines. 
Sobelson, Ralph, Bangor, Pa. 
Specht, William, New Orleans. 
Stambaugh, Arthur, Art Film Studios, Cleve- 

Stoefel, Nathan A., Washington, D.C. 
Stuckert, W. A., Brenham theatre, Brenham, 

Swarsky, Rose, exhibitor, Starkville, Miss. 
Swift, Stanley H., Cameron theatre, Cameron, 

Tabackman, Max, exhibitor, New Haven. 
Tegtmiers, Homer, exhibitor, San Francisco. 
Thomas, Dave, producer, First Division, 

Thomas, Harry, president, First Division Pic- 
tures, New York. 

Thompson, Leslie E., theatre operator of 
RKO Circuit, New York. 

Tobias, Lester, premium distributor. New 

Toups, Rodney, manager, Loew's State thea- 
tre. New Orleans. 
Twyman, F. W., exhibitor, Charlottesville, Va. 

— u— 

Underwood, J. B., Inca Theatres, Dallas. 
Unger Arthur, Hollywood Variety, Holly- 

— V— 

Van Dyke, W. S., director, MGM, Culver 

Vickers, John, Carolina Delivery Service, 

— w— 

Walsh, Morgan A., circuit owner, and rep- 
resenting Independent Theatre Owners of 
Northern California, San Francisco. 

Walthall, Wallace, Dallas. 

Washburn, Mel, New Orleans. 

Waters, N. H., exhibitor, Birmingham, Ala. 

Weber, Miss J. M., exhibitor, Rome, Ga. 

Weeks, C. H., exhibitor. Dexter, Mo. 

Weeks, George W., sales manager, Gaumont 
British, New York. 

Wehrenberg, Fred, president, MPTO of 
Eastern Missouri, St. Louis. 

Weiner, Charles M., Winnipeg, Canada. 

West, J. A., Louisville, Miss. 

Weyer, Clinton, secretary. National Film Car- 
riers, Philadelphia. 

Wharton, H. D., exhibitor. Warren, Ark. 

Wilby, Robert W., circuit owner, Atlanta. 

Wilkes, Harold, Atlanta. 

Wilkinson, Lupton, Advertising Advisory 

Council, Los Angeles. 
Williams, C. E., exhibitor, Omaha. 
Williams, R. X., exhibitor, Oxford, Miss. 
Wilson, Reginald, Gaumont British, New 


Wood, Mrs. Willingham, exhibitor, Washing- 
ton, Ga. 
Woodward, W. E., New York. 

— Y— 

Yahr, M. J., Camden, N. J. 
Young, Hal, National Screen Service, New 

— z— 

Zappalia, James, Columbia theatre, St. Louis. 
Zions, Louis, Washington, D. C. 
Zucker, Frank, cameraman. 

^ for this <sJtfJ5^^£^**i^show! ^ 

—— iMMBS-^ — - ■-»»«»«»^-^..<rt ^ 


Wor/d's greatest femfnme 
tap-dancer ! 

way's pet ! 

j^'/w^as t'li^- genius w^tll|iilig*^'*"*^'' 




Entire production conceived, produced 

and directed by George White 
Screen play by Jack Yellen and Patterson 
McNutt • Based on a-story by Sam Hellman 
and Gladys Lehman 


ifc 1440 Rf ^SOm v^wt 



Even before the pkture .op^ns . . . the carch and swing, melody and 
rhythm have made the song-and-dance hits of '^George White's 1935 
Scandals'' the most sought-after by radio's greatest orchestra leaders. 
Already Rudy Vallee, Fred Waring, Paul Whiteman, Ted Fiorito, Abe 
Lyman and many others have ^^l ^^ui-ed them in their broadcasts, 
set the nation swaying and hu^piing to these tunes. A billion-dollar 
song-plug that's plugging the w^^ure for you! 


''According to the Moonlighf'' 

"It's an Old Southern Custom'* 


"Oh, I Didn't Know You'd Get 
That Way" 

"I Was Born Too Late" 
'I Got Shoes — You Got Shoesies' 

Songs by : Jack Yeilen, Cliff Friend, 
Joseph Meyer, Herb Magidson 

It's 365 TIMES BETTER than the sensational 
GEORGE WHITE'S SCANDALS" of a year ago! 

March 2 , 1935 





Morris Kohn Dies; 
IV 2S Film Pioneer 

Morris Kohn, motion picture pioneer and 
former president of Realart Pictures, died 
suddenly at his home in Nanuet, N. Y., last 
week. He would have been 72 in June. 

Mr. Kohn's experience in the motion pic- 
ture business dates back to the early days 
of the industry when, with Adolph Zukor, 
he gave up his fur business in Chicago to 
enter the infant nickelodeon field. With 
them in the venture, which developed as the 
forerunner of the Loew and Paramount 
theatre circuits, was the late Marcus Loew. 

Morris Kohn was the father of Ralph A. 
Kohn, until recently a Paramount Publix 
executive, and of Norman E. Kohn, an ex- 
ecutive of Paramount's foreign department, 
and Beulah Goetz, wife of Jack Goetz, of 
Duo-Art Laboratories, Inc. Mrs. Adolph 
Zukor is a niece of Mr. Kohn. 

Mr. Kohn, who had retired 12 years ago, 
came to this country 52 years ago from 
Hungary and settled in Chicago. Later he 
was a farmer in the Dakotas, and subse- 
quently, with his family, he returned to 
Chicago and established his fur business. 

When Mr. Zukor organized, with Jesse 
L. Lasky, the Famous Players Lasky Cor- 
poration, predecessor of Paramount Publix. 
he made Morris Kohn the head of Realart 
Pictures, a subsidiary. He also was presi- 
dent of Select when that company was un- 
der Mr. Zukor's control and at one time was 
head of Warner Pictures. Mr. Kohn was 
among the signatories to the "Roundrobin," 
dated December 2, 1921, inviting Will H. 
Hays, then postmaster general, to the lead- 
ership of the industry. 

Mr. Kohn's death came suddenly. His 
health always had been excellent. His death 
came within two days of the fourth anni- 
versary of his wife's passing on February 
22, 1931. Funeral services were held Friday 
at the Universal Funeral Chapel, with burial 
in Mt. Hope Cemetery in Westchester. 

Ralph A. Kohn, who for some time has 
been ill in Hollywood, returned to New 
York for the funeral. 

Eight BoardsTake a Hand; Mem- 
bers Show So Many Friends 
There's No Audience Left 

Issuance of an order by the Nanking 
board of film censors placing severe restric- 
tions upon pictures of an anti-war character 
''which can benumb the public and result in 
a loss of public morale" — "British Agent" 
was barred and "Cavalcade" denounced — has 
evoked a spirited protest from American 
offices in Shanghai. Mandatory regulations 
have been set up by the Chinese in eight 
different localities served out of Shanghai, 
and by the time all have snipped and snipped, 
there is little motion picture or film left. 

The exchanges in Shanghai pay one of 
the highest customs duties in the world. 
But first of all, after the Nanking board 
has finished carving, the filnn goes before 
the Settlement board, composed of censors 
of many nationalities. The French usually 
predominate in numbers, and theirs is a 
philosophy of deleting much that refers to 
the French people. Thus in a recent instance 
there appeared this dialogue: "How is 
Paris?" "Dirty." Whereupon a French 
censor said: "New York more dirty than 
Paris. Take that out." 

The British censors usually are very lib- 
eral, and often clash with the French. On 
the other hand, if a production has been 
passed by the others, but a German objects 
to it, extraordinary attention is given by the 
board at once. Should the Japanese protest — 
but they rarely do — the picture would be 
immediately barred. The Japanese censor- 
ship board in Tokyo is considered the sanest. 

Nanking's Chinese board has presented a 
problem of another nature as well. The 
members hold pictures for weeks, screening 
them time and again for all their friends. 
Theatres have refused to book a picture be- 
cause it already has been shown so widely. 

From the Shanghai and Nanking boards 
the picture — and posters — go to the Hong- 
kong censor. He is generally considered 
fair, but at Canton out come the shears 
again, because the board there does not un- 
derstand the Nanking group's deletions. 
Thence the film is subjected to review in 
other ports, such as Tientsin, Tsingtoa and 
Hankow. At Dairen the Japanese board sees 
the print, but except for kissing scenes the 
members for the most part accept the de- 
cisions of the Tokyo board. At Harbin still 
another censor acts. 

By the time the film gets back to 
Shanghai it is of no further use for the 
smaller cities in China and often it is so 
mutilated that the exchange cannot use it. 
Should it be returned without the customs 
card, it is confiscated by the local customs 
office. Again, the customs house places 
perforation marks of inspection on the ends 
of the film. If these are lost, the exchange 
has a real obstacle in getting customs 

Besides the customs card and perforation 
identification, each film is accompanied by 

a Nanking censorship certificate, to which 
is attached a synopsis of the story in Chi- 
nese. If the synopsis is missing, the local 
censor in, say, Tsingtao, will refuse a per- 
mit to the theatre. Application to the Nan- 
king board for a stamped synopsis entails a 
wait of several months. Censorship and cus- 
toms delays have held up productions as 
much as eight and ten months. Every three 
years a picture must be re-censored and new 
fees must be paid. 

Chinese Titles Inviolate 

When a picture is sent to Nanking it is 
given a Chinese title. If a theatre changes 
the Chinese title, the exchange is fined by 
the Nanking board, on the theory that it is 
easier to collect from the exchange ; they 
can refuse to censor more pictures from the 
exchange, but they do not care for the re- 
sponsibility of closing a theatre. In one 
instance an exchange rented a film to a 
theatre for $30. The theatre changed the 
Chinese title; the exchange was fined $30, 
to say nothing of the shipping charge and 
wear on the film itself. 

Motion picture men in Shanghai are look- 
ing about wildly for relief from the censor- 
ship handicap. They are afraid to challenge 
the rulings of any of the censor boards, lest 
they be singled out and their films given 
extra mutilation. 

One suggestion made in Shanghai is that 
the consul of each country arrange to have 
a policeman at the theatre door to bar his 
nationals if his censor has objected to the 
production. The exchanges raise the point 
that a French censor's objections should not 
bar a Briton from witnessing a picture, and 
the French nationals should have similar 
protection against any prohibition by a Brit- 
ish censor. 

IV arren 's Unit 
Sues Chrysler 

Control Corporation of America, F. B. 
Warren, president, has started suit for 
$125,000 against Chrysler Corporation, al- 
leging failure to supply Chrysler air con- 
ditioning equipment for theatres, as con- 
tracted for. The Chrysler interests were 
served in the action Wednesday, through 
Arthur S. Friend, New York attorney. 

Control Corporation alleged that Chrysler 
retained it as the "sole and exclusive sales 
and distributing agent of Chrysler air con- 
ditioning equipment, and the intent of this 
agency was to have Control Corporation in- 
stall this equipment in motion picture thea- 
tres throughout the country." After having 
expended some $62,000 in promotion of the 
equipment, Control Corporation said, it 
"was faced with the inability, refusal or 
neglect on the part of Chrysler to make the 
equipment and the necessary data for the 
installation available." 

Mr. Warren explained that as a result he 
had been compelled to withdraw his com- 
pany from active participation in the air 
conditioning of theatres. 


March 2, 1935 


Patrons Walk Down a Flight or 
Two in Prague; Recesses at Bars 
Cut Feature Pictures in Half 

By H. RYK 

Prague Correspondent 

Subterranean theatres are the rule in 
downtown Prague, theatres handsomely con- 
structed, in cellars. However, the Prague 
theatres have not yet adapted to their cir- 
cumstances the slogan oft seen in American 
businesses, particularly clothiers, into "Walk 
down a flight and save 10 cents." 

Nowhere in Europe are so many theatres 
concentrated as on Prager Wenzelsplatz. 
There are no fewer than 18 of them in the 
Prague centrum. As space in this part of 
the city is very expensive, the theatres 
have taken to the underground. Often 
one must go down two flights of stairs to 
reach the parquet. 

Exceptions are the Passage theatre and 
the Lucerna, both main floor structures and 
built in the most modern style. Admission 
tickets to first run theatres in Prague are 
3 to 15 kronen; in the provinces they range 
from one to two kronen. 

One would make a mistake, however, if 
he were to assume that the largest Czecho- 
slovakian theatre is in Prague. The larg- 
est — seating 3,000 — is in Zlin, the city of the 
shoe manufacturer, Bata. The theatre was 
built for the employees of his factory. The 
largest legitimate showplace is the Elektra 
in Pilsen, home of the world-famous beer. 

Proportionate to its population, Czecho- 
slovakia is one of the richest countries in 
Europe in theatre development. 

High Taxes, Low Income 

The exhibitor, however, does not have 
an easy time of it, with such competition. 
He must always keep in mind the high taxes 
and low income. He must keep the public 
interest alive by skillful selection of product, 
despite the fact that the motion picture the- 
atre is the nation's most popular center of 

Pictures are sold to exhibitors almost ex- 
clusively on a percentage basis, varying 
from 35 to 45 per cent, according to quality. 
To set up a program under the present 
troublesome conditions is a real task, though 
the return of American producer-distribu- 
tors to the Czecho field should alleviate this 
problem. With a small quantity of importa- 
tions the theatres suffer from attendance by 
a very small percentage of German-speaking 
patrons, whereas the other part of the audi- 
ence, and the exhibitor, are confronted with 
an inferior type of domestic or imported pic- 

Shortage of Stories 

Czecho production is set back by a short- 
age of good story material. The musical 
comedy type has fallen out of public favor ; 
patrons demand something more now, some- 
thing with an earnest theme, down-to-earth 
product, whether domestic or imported. 

The curious system of regulation of the- 
atre licenses is another problem. In most 
instances the license owner has very little 
to say in the matter — in fact, has no influ- 
ence at all as to the carrying on of the the- 

atre's business. Ten years ago the govern- 
ment stopped the granting of licenses to the 
exhibitors and concentrated that authority 
in communal authorities and philanthropic 
societies. Thus, on one side were the license 
societies without theatres ; on the other, the 
theatres without licensing power. Exhibitors 
had to make large payments for licenses. 
License owners of most of the theatres today 
are the Sokols, children's welfare societies, 
Turner unions and municipal corporations. 

Intermissions in Features 

Another unusual custom that militates 
against good showmanship is the intermis- 
sion interruption, somewhat similar to the 
situation in South Africa. Buffets or drink- 
ing rooms are operated in connection with 
the theatres. Features are interrupted at 
the halfway mark so that patrons may visit 
the buffets and keep the cash register 

Not so long ago the theatre went a long- 
step farther in this inconsistency of exhibi- 
tion. Instead of the pause on the screen at 
intermission time, a trailer of a forthcoming 
comedy would be cut in. Thus a patron 
viewing a drama would face the prospect of 
having the sequence rent asunder by inter- 
position of a bit of next week's comedy. 

Douglas Z. Doty^ 
Film IV nter^ Dies 

Douglas Z. Doty, screen writer and for- 
mer editor of Century and Cosmopolitan 
Magazines, died at his Hollywood home lasc 
week after a heart attack. He was 60 vears 

He, with Donald Ogden Stewart and H. 
D'Abbadie D'Arrast, wrote the scenario for 
the film "Laughter," which received the 
award of the Academy of Motion Picture 
Arts and Sciences as the best picture of 

A native of New York City, Mr. Doty 
attended Columbia University, then spent a 
year on the staff of the Boston Journal and 
two years with the Neiv York Sunday 
Herald. He was a reader and literary ad- 
visor for the Century Company, edited the 
Century Magazine and was secretary of the 
Century Company. In 1917-18 he edited 
Cosmopolitan. After a time with Harper and 
Brothers, Mr. Doty went to Los Angeles in 
1921 as a screen writer with Famous Play- 
ers Lasky Corporation, becoming head of 
the scenario department within a year. 

Air. Doty was divorced from his "first wife 
in 1922. A daughter of that marriage, 
Dorothy Whiting Doty, survives. Others 
are his widow, Katherine C. Doty; a son, 
a sister and a brother. Mr. Doty had been 
a member of The Players. 

Eaton Says Films 
' 'Feed on Brains 
Of Stage Talent 

Declaring that the motion picture indus- 
try "feeds on the brains" of story writers 
and dramatists and must rely exclusively for 
its acting talent upon Broadway-trained 
actors and actresses, Walter Prichard Ea- 
ton, who has succeeded the late Dr. George 
Pierce Baker as head of the Yale drama 
department, told the fourth National Theatre 
Conference at New Haven last week that 
unless the theatre looks to the "little thea- 
tres" of the country there may well be a 
drying up of all sources of material. 

"You cannot learn to write plays and 
dramatic dialogue save by long practice be- 
fore audiences," Mr. Eaton said. "You can- 
not learn to act by two-minute appearances 
before a microphone and camera, but only 
by long practice before audiences. Yet the 
movies grab off young players and young 
dramatists as soon as they have had just 
enough practice to indicate the possession 
of some talent. This is the end of their 
artistic growth in nearly all cases. Only the 
few who resist the lure of gold in 'them 
thar Hollywood hills' develop to important 

"Where are the dramatists of tomorrow 
to come from?" Mr. Eaton asked. "With 
the professional theatre cut down to Broad- 
way, where only plays which can run a 
hundred nights are wanted, obviously, if we 
are to have a dramatic art at all, even on 
the screen, there must be a place for drama- 
tists to develop. That place is in the local 
theatres, the little theatres. These theatres 
must get over their excessive timidity. 

"Too many of them are too much like the 
movies . . . they are parasitic ; they produce 
only what somebody else has developed. 
They are little echoes of Broadway." 

Coombs^ Basso of 
' 'Roxy Gang ' 'Dies 

James Parker Coombs, grand opera and 
radio singer, whose basso was familiar to 
millions over the air, known as "Daddy 
Jim." when he was a member of the original 
"Roxy Gang," died at his home in Great 
Kills, Staten Island, N. Y., late last week 
after a sudden heart attack. He was 65 
years old. 

Mr. Coombs sang for two years at the 
Radio City Music Hall and broadcast over 
the NBC network. He continued with the 
"Roxy Gang" for 11 years, retiring from 
the organization last Spring. 

Mr. Coombs was born in Bath, Me., and 
attended Brown University. From 1900 to 
1906 he toured with the Savage English 
Speaking Opera Company, going then to 
the Hippodrome, where he sang for many 
years under the direction of R. H. Burn- 
side. In 1919 he joined Samuel Lionel 
Rothafel at the Capitol theatre. 

He is survived by his widow, Bessie 
Coombs ; two daughters, and two sons. His 
body was cremated. 

^^ST STOP ^^^^^^ .^r^ SPECT^CVJLft*^ TALK\NG STOV 

- Si. .. - ..... 




tngt^e address. ^ ^ ^ ^^^''^^CH ^\<Q!^ • ' ^ 

^5 ,N THE B^G BEST ^^^_L,MG j 

to SM^LL SEL^^ CORGR^TV)U^Tt ^^^^^ SIN 


K, ^ tlGHT^A^N.^ ■ 7g^^^thi„g to 

— rlspY.o« ■ ;;„„g cast, story, 

melodies, "'^^^ .„ibox-otti»« "'' . . knockout, a 

gor.g-thWi«VvP««;^ ... "X sure-itre "^^^^.^Hottr^o-a K-P 


\ 1 

.^"TTand to Climax the 
M. P. T. O. A. Convention 
in New Orleans This Week 

WVliliV irlililfllCilUi 



March 2. 1935 




Celler at Washington Denies 
Sidney Lust's Statement He 
Intends to Modify Bill to Bar 
Block Booking by Exchanges 

State legislatures of the country resumed 
their hammering against the motion picture 
industry this week, with new legislation pro- 
posed or enacted, calling for assessments 
against exhibitors and distributors, for cen- 
sorship levies, higher admission taxes, for 
new levies on gross business. 

On the other hand there are at least six 
such bills for repeal of Sunday closing laws. 

In Washington, Congressnnan Emanuel 
Celler contradicted the statement of Sid- 
ney Lust of the Motion Picture Theatre 
Owners of the District of Columbia that 
he intended to modify the anti-blocic book- 
ing provisions of his bill, following a meet- 
ing with exhibitors. Congressman Culkin 
is planning early submission of his anti- 
block booking bill. 

Exhibitors and distributors in Arizona will 
be hit by heavy additional taxes if two bills 
now before the legislature are enacted. A 
Senate measure provides for a tax of Yi per 
cent on gross sales. The second bill proposes 
a levy of 2 per cent on gross earnings as well 
as a 2 per cent tax against earnings of all em- 
ployees, without deductions. 

California Exhibitors Get Cheer 

California exhibitors learned that a block 
of 50 votes in the House is opposed to a num- 
ber of phases of Governor Merriam's tax 
program and that defeat of the proposed 10 
per cent admission tax is practically inevitable. 
W. B. Hornblower, chairman of the San Fran- 
cisco delegation, said he and his associates 
will fight for a tax program "based on ability 
to pay." 

Provision for a referendum on Sunday shows 
in Delaware was included in a bill reported 
favorably to the House at Dover. 

In Kansas, Senator Miller of Leavenworth 
asked repeal of the 70-year-old prohibition on 
Sunday showings. Exhibitors consider satis- 
factory the present local option system. An- 
other bill would allow pictures to be sold be- 
fore being censored by the state board. This 
would make it possible for distributors to 
write contracts as they do in other states. 

Louisiana Tax Measure 

Mayor T. Semmes Walmsley of New Or- 
leans introduced an amendment for a 2 per 
cent tax on every ticket purchased instead of 
2 per cent on the gross dollar. 

With a petition in Massachusetts to 
strengthen the programs of film and vaudeville 
houses by legalizing stage dancing on Sunday, 
interest has been aroused by the favorable ac- 
tion of the House on a bill to permit dancing 
at Sunday weddings. It is felt that passage 
would be a step toward remedying the Sunday 
law which gives the state censorship board 
power over pictures shown on Sunday, result- 
ing in prints being cut to requirements that 
need to be filled only one day out of seven. 
Theatres in Massachusetts have been saved 
from a state admission tax. 

The Maine legislature was considering a bill 
to legalize Sunday shows after 3 P. M. 

State censorship is sought in a bill introduced 
in the Missouri legislature by Senator John P. 

Shea, St. Louis theatre manager. Senator 
Shea declared exhibitors are forced to play 
objectionable pictures because of block booking. 
His bill calls for a censor board of three and 
an inspection charge of $5 a reel on films and 
50 cents on advertising. Rural members of the 
House killed a resolution to submit a consti- 
tutional amendment to legalize a state lottery. 

In a statement resulting from the Ohio 
censor board's asserted right to pass on 
"The March of Time" reel, Lieut. Lester 
E. Potter, police commissioner of Detroit, 
Mich., said any newsreel may be subjected 
to censorship under an existing law. He 
declared the principal matter subject to 
censorship would be communistic propa- 
ganda. * 

In North Carolina fear was expressed that 
unless the contemplated state franchise tax of 
$1,250 is reduced the state and Charlotte may 
lose its film exchanges. License taxes paid by 
(ither concerns do not exceed $200. 

In New Jersey, despite a ruling by the court 
of chancery that all gambling is unconstitu- 
tional, a new bill has been introduced to permit 
locating dog tracks on municipal property. 

At a hearing at Albany on the Berg bill to 
permit Sunday theatrical performances, Frank 
Gillmore, Actors' Equity president, and Paul 
N. Turner, Equity counsel, declared passage 
of the bill would deprive New York City 
hospitals of $250,000 receipts from Sunday 
night benefits. Senator Berg said that if the 
bill would hurt the hospitals he would drop it. 
Strong opposition and no support featured a 
joint hearing Tuesday on the McCall-Canney 
bill for stricter censorship. 

The Ohio legislature passed the Waldvogel 
bill, which makes it unlawful for distributors 
to attempt to fi.x playdates in contracts. 

In South Carolina, long a stronghold of blue 
laws, a bill provides for a censor board of 
three, to be appointed by the Governor. 

In Tennessee, another blue law state, a bill 
for Sunday showings was introduced by Rep- 
resentative Charles Brown of Memphis and 
Robert Brown of Hickman County. Approval 
of four-fifths of a city commission would be 
required. A controversy over pending sales 
tax legislation threatened to pigeonhole the 
Sunday show measure. 

Federal Trade Commission 
Complains of Wilson Film 

The Federal Trade Commission at Wash- 
ington last week issued a formal complaint 
against Economic Films, Inc., and Frank 
R. Wilson, president. New York, for the 
protection of the President against com- 
mercial exploitation. Misleading and de- 
ceptive use of the likeness of the President 
in a film, "Forward, America," as well as 
the accompanying dialogue were cited. 

Mr. Wilson, in reply, said, "The Presi- 
dent's likeness appears only for a brief flash 
at the end of the picture. The chain store 
lobby in Washington caused the Federal 
Trade Commission to issue the complaint 

Miss Lawrence Bankrupt 

Gertrude Lawrence, English actress and 
fiancee of Douglas Fairbanks, Jr., this. week 
declared to her creditors in London that she 
has debts totaling $68,110 and assets of 

Balcon Here for 
American Talent 

Michael Balcon, executive director of GB 
production at the company's London studios, 
arrived in New York last week and planned 
to leave almost immediately for Hollywood 
to arrange for the appearance of several 
American stars in the company's forthcom- 
ing productions. 

An interchange of stars between England 
and America is as important as the inter- 
change of directors and technical experts, 
Mr. Balcon said. Through both of these 
media new methods and ideas are most easily 
introduced into studios, he said, bringing 
to the public of both nations variety of film 
names, characters and types. 

In line with GB's plan to cast American 
players in the company's pictures made in 
England, Mr. Balcon announced he has al- 
ready signed such names as Claude Rains, 
Robert Donat, Fay Wray, Clive Brook, 
George Arliss, Madeleine Carroll and Jane 
Baxter. Mr. Balcon said he expects to sign 
about 20 additional players during his six 
weeks in Hollywood. 

"Gaumont British knows it has a big mar- 
ket in England and we are striving to in- 
crease our market in this country," he said 
on his arrival. "It has been our plan right 
along to cast American players, but now 
we are going after them in a big way." 

While in New York, Mr. Balcon discussed 
1935-36 production plans with Arthur A. 
Lee and other GB executives. The company 
plans a maximum of 24 features in the new 
season, 16 of which will be distributed here. 
In addition to GB films, the American com- 
pany, under Mr. Lee's direction, will handle 
pictures made by outside producers. 

Titles to 10 of the GB 1935-36 lineup have 
been set. They include "39 Steps," by John 
Buchan, starring Robert Donat and Made- 
leine Carroll; "Soldiers Three," a screen 
adaptation of Kipling's story ; "The Clair- 
voyant," with Claude Rains and Fay Wray; 
"Barcarolle" and "Sam and Nellie," starring 
Jessie Matthews; "The Tunnel" and "King 
of the Damned," starring Conrad Veidt; 
"Redemption" and "The Passing of the 
Third Floor Back," to be directed by 
Berthold Viertel ; "Pepys," from the bi- 
ography of Samuel Pepys. 

Columbian Dinner-Dance 
At Waldorf Saturday 

The Hotel Waldorf-Astoria in New York 
will be the scene Saturday evening of the 
fifth annual dinner-dance of the Columbian 
Club of Columbia Pictures, social and benev- 
olent organization for the employees of the 
Columbia home office and New York ex- 
change. Hal Hode is president. 

Harry Cohn, president of Columbia, and 
Jack Cohn, vice president, will attend. Stars 
of screen, stage and radio will provide en- 



March 2, 1935 


Advance outlines of producfions nearing 
complelion as seen by Gus McCarthy of 
Motion Picture Herald's Hollywood Bureau 



Fantastic and eerie, packed with that qual- 
ity of story content that, experience demon- 
strates, makes for screeches and screams, the 
weirdness of which often times makes for 
laughter, the material used in this production 
is promising of a suspense-packed shudder pic- 

The original story is by Robert Harris, who 
is also acting as the picture's associate pro- 
ducer as well as having cooperated on the 
screen play with Harvey Gates, recently cred- 
ited with aiding in the adaptation of "The 
Band Plays On" and "Lives of a Bengal 
Lancer." Direction is by Stuart Walker, whose 
work with the recent "Mystery of Edwin 
Drood" and "Great Expectations" is demon- 
strative of his ability to handle this character 
of subject matter. 

For the unusual lead character. Universal has 
chosen Henry Hull, who made an impressive 
screen debut in "Great Expectations." Presently 
he is appearing in "Transient Lady." The sec- 
ond most important role, equally as weird and 
menacing as the lead, is in the hands of Warner 
Oland, long identified with the Charlie Chan 
pictures. In the supporting cast are Valerie 
Hobson, featured in several current Universal 
pictures, Clark Williams, Lester Matthews, the 
veteran character actress Charlotte Granville, 
Spring Byington, one of the famed "Little 
Women" players, Lawrence Grant, J. M. Ker- 
rigan and Louis Vincenot. 

The major locale is London, with a side trip 
into the hidden mountains of Thibet. It con- 
cerns a man who discovers a cure from an 
affliction that turns man into wolf. Himself 
infected, he wreaks havoc when the moon grows 
full, but is finally killed by those whose ro- 
mantic life he most menaces. 

Novelly premised, with a wealth of sustain- 
ing production features in dialogue, action and 
settings, the kind of exploitation necessary to 
sell it is evident. 

carries mortals from life to death ; the rain 
of fire, the lake of flames, sea of boiling pitch, 
cliff of frozen mortals, crater of doom and many 
other sensations with which people who have 
read Alighiere or know the Dore illustrations 
are familiar. In the modern sequences sensa- 
tions featured are the collapse of a pleasure pier 
with thousands in panic, the dance of the bac- 
chanale and the parade of sirens on the boat 
and the holocaust of the burning ship ; followed 
by the trial by fire in the burning engine room, 
out of which the nether world situations evolve. 

Spencer Tracy plays the leading role. He is 
supported by Claire Trevor as the girl he mar- 
ries ; Henry B. Walthall, her father ; Alan 
Dinehart, Scotty Beckett as Tracy's child ; 
Robert Gleckler, Willard Robertson, Morgan 
Wallace, and Garfield Leon and Rita Cansino, 
a dancing team. 



Don't let this title cause any one to jump at 
conclusions and assume that the production is 
entirely a picturization of Alighiere's classic, 
"The Divine Comedy." Preceded by a modern 
dramatic screen play written by Phillip Klein 
and Robert Yost, it does lead to a presentation 
of the spectacle of Hades which is a feature 
of Alighiere's great work. Directed by Harry 
Lachman, who made "Paddy, the Next Best 
Thing" and "Baby, Take a Bow," it is the 
dramatic romantic story of a modern man who, 
rising to great wealth and power as the owner 
of an amusement park, marries the daughter 
of the man who owned the "Inferno" show con- 
cession. Dishonest, ruthless, living for himself 
alone, he culminates his career by building a 
floating pleasure palace. With thousands 
aboard, it catches fire. Now comes the sym- 
bolism of Dante's Hell to illustrate the horror 
that grips his soul as he attempts atonement 
for his transgressions against the laws of God 
and man. 

Naturally the spectacle of Hell, in which 
thousands of extras participate, is one of the 
production's important showmanship qualities. 
Among the things presented from the classic are 
the river Styx and its ferryman Charon, who • 


(Tentative Title) 

This production is based upon a novel by 
Anatole France, French author, which was pub- 
lished under the title "The Crime of Sylvestre 
Bonnard." In essence, the story is dramatic 
with a deep human interest twist. It tells of a 
man, an author, and his love for the orphan 
child of an old sweetheart, the personal sacri- 
fices he made to insure her welfare, the strange 
manner in which love is brought to him, the 
manner in which vengeance is wrought upon 
those who would harm both him and the girl, 
and the happiness that is his when the girl is 
awarded to his guardianship and the romantic 
future of the girl insured. 

The locale is France and the entire atmos- 
phere French. The screen play is by Francis 

Anne Shirley, star of "Ann of Green Ga- 
bles," is the girl in the picture. As an exploita- 
tion asset it is distinctly noticeable that sev- 
eral who participated in that picture are also 
included in this. It is being directed by George 
Nichols, Jr., who made Miss Shirley's first 
starring picture. O. P. Heggie, Helen Westley 
and Hilda Vaughn, who appeared in "Green Ga- 
bles," also will be seen here. As a matter of 
further exploitation interest, Miss Westley is 
one of the outstanding figures in the forthcom- 
ing "Roberta." Others in the cast are Elizabeth 
Patterson, Trent Durkin, John Qualen and Eti- 
enne Girardot. 

While totally different in theme and action as 
well as production background, there is com- 
parative heart interest in this coming release. 


20 fh Century 

As the production cycle more and more stim- 
ulates an interest in the classics, this produc- 
tion, portrayed by an outstanding cast, deals 
with one of the greatest human interest dramas 
of all time. In this adaptation of Victor Hugo's 
monumental work, by W. P. Lipscomb, who 
did the screen play for "Clive of India," the 
pages of the book as they trace the life of Jean 
Valjean are graphically re-created with all the 
drama, romance, tragedy, historical significance, 
humanness and thrill. 

Directed by Richard Boleslawski, maker of 
"Clive of India" and numerous other popular 
successes, the picture stars Fredric March in 
the role of Jean Valjean and Charles Laughton 

as Inspector Javert, the hero's lifelong nemesis. 
The supporting cast, composed mainly of known 
names, presents two noted new personalities, 
Sir Cedric Hardwicke, British stage actor, and 
Keith Kenneth. Names familiar to domestic 
audiences are Rochelle Hudson, Eily Malyon, 
Frances Drake, currently in "Transient Lady" ; 
Ferdinand Gottschalk, Jessie Ralph, Florence 
Eldridge, Desmond Roberts, Vernon Dowling, 
David Clark, Florence Roberts and Marilyn 
Knowlden, seen in "Copperfield." 

Star and personnel value being acknowledged 
from a commercial point of view, the entertain- 
ment quality of story content is of equal worth. 
It shows Valjean, the thief, hounded by Javert, 
in the galleys, then the life-saving hero freed 
but treated like an animal and cheated by one 
and all. It takes him to his association with the 
kindly Bishop and the incident of the stolen 
candlesticks, with Javert still hovering revenge- 
fully close, and later as M. Madeline, the mi- 
raculously wealthy and philanthropic industrial- 
ist befriending Fantine and subsequently her 
fatherless child. As he sacrifices all to save 
a wrongly identified prisoner, the drama builds 
to Jean now as Duval, gardener in a convent, 
and his great love for the now motherless Co- 
sette. Years pass to bring revolution, partially 
financed by Duval. Cosette is in love with one 
of its leaders, Marius, and jealously fills her 
guardian's heart. The story now builds to a 
great final scene with the indefatigable Javert 
committing suicide that he might be true to his 
duty yet spare Valjean for a life in peace. 



When some one tells a woman that she 
"knows nothing about nothing" there's apt to 
be quite a bit of excitement. In this case it 
results in hilarious farce comedy, similarly ap- 
plied romance, moving to the same tune of 
dialogue, action and situations. A glance at the 
predominating cast names amplifies the pro- 
duction's comedy character. 

The original story is by Frank Howard Clark, 
the screen play by F. Hugh Herbert, recently 
a collaborator on "The Secret Bride," and 
Manuel Seff, who similarly was occupied on 
adaptation of "Kansas City Princess." Num- 
bered among the recent credits of Ray En- 
right, director, are "Dames," "St. Louis Kid," 
"20,000,000 Sweethearts" and "The Circus 

The cast is headed by Joan Blondell, her first 
picture in some time, as the traveling sales- 
woman. Players who have scored their most 
popular successes in comedy characters consti- 
tute the support. Listed are William Gargan, 
Hugh Herbert, Ruth Donnelly, Grant Mitchell, 
Glenda Farrell, Johnny Arthur, Joseph Cre- 
han, Bert Roach, Al Shean, Gordon Elliott. 

With a sort of all is fair in love and war 
motivating idea, the production has a good com- 
edy premise. Miss Blondel's father, Mitchell, 
is a tooth paste tycoon. She wants to go to 
work. He won't permit it. Hugh Herbert is 
trying to sell him an amazing idea — cocktail 
flavored toothpaste. Making no headway, the 
pair get together and take the idea to a rival 
manufacturer. With Miss Blondell the sales- 
lady and Herbert mixer and taster, the new 
stuff wrecks her father's business. It brings 
her into a situation with her father's star sales- 
man, who doesn't know her identity, whereby 
they're rivals by day, but sweethearts after sun- 

March 2. 1935 



down. Crammed with fun in all phases, it builds 
to a situation whereby the alcoholic paste ruins 
Mitchell's business and forces him into a merger 
with Shean. Gargan and Miss Blondell also 
merge romantically. 

The production looks like an exploitation 
natural, with plenty of entertainment to back 
up any claims. 



A racetrack yarn, this production approaches 
its subject in a decidedly different way. While 
retaining the familiar essentials that have made 
this type of entertainment popular, the story 
by William Jacobs, with screen play by Crane 
Wilbur, introduces much that is new to add to 
the amusement and exploitation value. 

Directed by Phil Rosen, the comparatively 
small cast being headed by Jack Holt, last seen 
in "The Best Man Wins," gives all its members 
featured opportunities. The story deals with 
a racehorse owner, whose pet superstition is 
orphans. Unknown to him, two orphans — one a 
boy, the other a horse — are brought within his 
care. An extended run of tough luck results in 
his discovery of the situation, and when his 
favorite runner sprains a leg in training, he 
orders the boy out of the house. However, the 
youngster has made friends with the trainer 
to overhear a crooked jockey and double-cross- 
ing betting commissioner conspire to hand the 
owner a trimming. This information is relayed 
to the owner. He is horror stricken to think 
that an orphan horse and an unknown rider 
must carry his colors. But when the orphan 
boy rides the orphan horse to a thrilling long- 
shot victory, it's the eradication of the super- 
stition and happiness all around. 

Jackie Searl, remembered for many fine per- 
formances, particularly in "Wicked Women," 
is the orphan. Mona Barrie, seen with Holt in 
"I'll Fix It," is his wife. The supporting cast 
features Ralph Morgan as the trainer who be- 
friended the orphan ; Bradley Page as the 
crooked gambler; Frankie Darro, the crooked 
jockey, and Sam McDaniel and Frank Orth. 

As the feature combines human interest with 
drama, action, plenty of comedy and a thrilling 
race sequence given a surprising twist, it calls 
for a type of showmanship labeling it new and 


Varamonnt-W anger 

As is indicated by the title, this is an unusual 
story. Fantastic in many ways, it is a dar- 
ingly premised drama romance. The locale is 
a psychopathic hospital. The principal players 
are famous doctors, specializing in mental cases, 
their lovers, a wife and relatives. As their tan- 
gled lives and loves, influenced by jealousy, 
fear, distrust and complicity, become more and 
more complicated, the picture builds situations 
and climaxes that plumb the depths of human 
love, friendship, freedom and security. 

The production is adapted from a currently 
best-selling novel authored by Phyllis Bottome. 
The screen play is by Lynn Starling, previously 
associated with the leading character, Claudette 
Colbert, in his adaptation of "Torch Singer." 
Among his many accomplishments, the director, 
Gregory La Cava, is credited recently with 
"Affairs of Cellini" and "What Every Woman 

Although the cast is extensive, major inter- 
pretive roles are carried by five persons. Next 
to Claudette Colbert, now in "Imitation of Life" 
and "The Gilded Lily," is Charles Boyer, last 
seen in "Caravan." The other principals are 
Joel McCrea, Joan Bennett and Helen Vinson. 
The supporting cast numbers about 20, the 
more familiar being Esther Dale, Samuel Hinds, 
Jean Rouverol, seen in "It's a Gift" ; Theodore 
Von Eltz, Big Boy Williams, Maurice Murphy, 
Julian Madison and Harry Bradley. Others are 
Sam Godfrey, Dora Clement, Stanley Andrews, 
Irving Bacon, Arnold Grey and Eleanore King. 

Realistic drama is stressed, and contrasting 
comedy fulfills only a minor function. Conse- 
quently publicity should point to the emotion- 
stirring character of the production. 



Appropriately titled, this is a village tale. 
Concerning itself with events, situations and 
relationships within a little country village, of 
which the outside world hears little and cares 
less but which nevertheless are delectable over- 
the-fence gossip, it is potentially rich in drama, 
romance, action, comedy, excitement and that 
friendly savor peculiar to many isolated towns. 

It is based on a story by Phil Stong, a fact 
that assumes additional importance as Stong 
also is the author of "Farmer in the Dell," cur- 
rently running in a popular weekly periodical 
and to be produced in picture form shortly by 
another major studio. The screen play is by 
Alan Scot. It is being directed by John Crom- 
well, maker of "The Fountain" and "Of Hu- 
man Bondage." 

While the cast includes no outstanding names, 
it does list many well known and favorably 
known players. It presents Randolph Scott, 
seen in several Paramount westerns and cur- 
rently in Radio's "Roberta" ; Kay John- 
son, Arthur Hohl, now being featured by 
Columbia ; Robert Barrat, in several recent War- 
ner productions, Janet Beecher, now in "The 
President Vanishes" ; Edward Ellis, Dorothy 
Burgess, Donald Meek, Quinn Williams and 
Ray Mayer. 

The various elements of the story are 
blended to a point where those attending a 
church party are promised something unusual. 
A "surprise" develops, culminating in a setting 
in order of all jealousies; the triumph of virtue, 
and elimination of the town's bully, which in- 
sures peace and happiness. 


2Qth Centtiry 

Written by Jack London, whose adventure 
stories are still popular, the screen play by 
Gene Fowler who did "The Mighty Barnum" 
and Leonard Praskins, and directed by William 
Wellman and featuring a cast of wellknown 
players, "Call of the Wild" holds much enter- 

Localed in Alaska during the '97 gold rush 
days, the story is a yarn of dramatic romance, 
adventure, greed, courage, tragedy and the 
eventual triumph of honesty and virtue. 

Man's greed for gold, particularly desire for 
possession of a fabulously wealthy lost claim, 
motivates the story. A thriller from start to 
finish as the various parties seeking the claim 
become involved in any number of hair-raising 
episodes, it mixes love with hate, villainy with 
heroism, making its tenderfoot heroine a pawn 
in the hands of desperate men. The whole is cli- 
maxed by an almost supernatural exhibition of 
the workings of justice, but leaves the romantic 
denouement a subject of speculation. 

With Clark Gable in the role of London's 
most famous hero, Jack Thornton, the princi- 
pals all have definite exploitation value. Jack 
Oakie will be seen as Hoolihan, the hero's ex- 
jockey pal. Loretta Young, recently in "Clive 
of India," is the beautiful heroine. Reginald 
Owen is the villain. Others listed are Frank 
Conroy, Sidney Toler, Katherine DeMille, Lalo 
Encinas, Charles Stevens, Pat Flaherty and the 
famous Hollywood showman, Sid Grauman. 



This production is adapted from a stage play 
by Edgar Selwyn and William LeBaron. It 
was adapted to the screen by Edwin H. Knopf 
and Lewis Waller. The screen play is by Harry 
Seigel and Barry Trivers. It being directed by 
Raoul Walsh, maker of some of the industry's 
biggest features and last credited with "Under 

As the identity of its two leading characters 
as well as several in the supporting cast quickly 
indicates, the production is a comedy. It's the 
story of a henpecked man, afraid of his own 
shadow, who sets out to prove to himself and, 
naturally, his wife that he is of the stuff of 
which heroes are made. The kind of person- 
ality the world laughs at, but at the same time 

sympathizes with, he gets himself mixed up 
with a bunch of gangsters who, confusing him 
with some one else, are about to put him on 
the spot when it is revealed that he and the 
mob's big shot were both one-time members of 
the same Boy Scout troop. 

Charles Butterworth, last in "Forsaking All 
Others," plays the lead role with Una Merkel 
as his wife. One of the menaces with whom the 
hero has to deal is Harvey Stephens, in the 
role of a man trying to steal his wife away 
from iiim. The supporting cast includes many 
favorable names. Listed are Eugene Pallette, 
currently in "All the King's Horses" ; Nat Pen- 
dleton, now in "Times Square Lady" ; Eddie 
Nugent, Robert Livingstone, Donald Meek, 
Stanley Fields, Claude Gillingwater, Wade 
Boteler, Bradley Page and Richard Carle. 
Others are Ruth Selwyn, Dorothy Libaire, Ray 
Brown and G. Pat Collins. 

Fun and human interest, the prime motivat- 
ing qualities, are also the natural selling fea- 
tures, but the name values should not be over- 



This production, made up of homey stuff, 
mixes comedy of the belly laugh and smile 
variety and drama that sometimes brings a tear. 
Again teamed are Guy Kibbee and Aline Mac- 
Mahon, stars of "Big Hearted Herbert" and 
"Babbitt." The yarn is adapted from a stage 
play authored by Edith Ellis, with the screen 
play by Tom Reed, currently associated with 
"The Florentine Dagger," and Peter Milne, 
with "The Woman in Red." Direction is by 
William Keighly, who made the two previous 
Kibbee-MacMahon pictures. 

Here is the story of the legendary tramp 
printer. The toot of a locomotive whistle being 
all that is necessary to stir the wanderlust, he 
leaves his forms on the press and disappears 
to roam the world for a decade. His wife, 
caring for two small children, moves to an- 
other town, and carries on the business of get- 
ting out a paper. Supporting a legislative can- 
didate, she is in much political excitement when 
her younger daughter, attending a circus, meets 
up with none other but the errant knight of 
ink, now acting as a barker. The family re- 
united, but the spouse on probation, he is just 
in time to get his misguided wife out of a jam, 
show up the candidate she is supporting as a 
minion of the interests, and after his gangsters 
have wrecked the plant, get out a paper on his 
old Mary Jane handpress that blasts the gen- 
tleman off the map. 

The cast supporting the leads features 
Tom Brown and Nan Gray, who carry the 
story's romance; Robert McWade, fond but 
much rebuffed suitor to Miss MacMahon's 
hand; Minor Watson as the candidate and 
Johnny Arledge, Carl Stockdale, Betty Jean 
Hainey (a child), Dewitt Jennings, Oscar Ap- 
fel, Robert Light, Louis Mason, Milt Kibbee 
and Jack Kennedy. 

Joins Defense Program 

Fox West Coast Theatres; in Los An- 
geles, has joined the National Defense Week 
campaign by showing trailers of a patriotic 
nature, in conjunction v^^ith talks by re- 
serve officers. Lieutenant W. H. Lollier, 
company executive, arranged the programs. 

Baldwin Warner Supervisor 

Earl Baldwin, Warner studio writer, has 
been promoted to the rank of supervisor. 
His first assignment will be "The Irish Is 
in Us," with James Cagney, Pat O'Brien and 
Frank McHugh. 

Tarzan Firm Opens Office 

Ben S. Cohen, vice-president of Bur- 
roughs-Tarzan Enterprises, has opened com- 
pany offices in the RKO Building, New 
York. George W. Stout is president, Harry 
Rathner eastern representative. 

Watch For Universars Shivery Sens 



9 Op 





March 2. 1935 


This departmenf deals with new product 
from the point of view of the exhibitor 
who is to purvey it to his own public 

Naughty Marietta 


Musical Comedy 

As entertainment and exploitation material, 
with plenty of novel values in each phase, this 
show merits more than usual consideration. Many 
moderns as well as most of the elders deem 
its legitimate stage production predecessor the 
standard of musical comedy operetta perfec- 
tion. The principal reason for this legendary 
reputation is the Victor Herbert music — par- 
ticularly the more modernly familiar "Sweet 
Mystery of Life" and "I'm Falling in Love with 
Some One" — and the romantic story content. 

The current musical vogue naturally makes 
selling of succeeding tune-tinged features a 
more difficult proposition in so far as it per- 
tains to finding new ways to talk about per- 
sonalities, voices and songs. While "Naughty 
Marietta" is a musical, fear of that handicap 
may easily be minimized. Substantially the 
show is a charming love story, embellished by 
drama, comedy, melodramatic action and ex- 
citement and music — the whole of which is 
presented against unique and attractive locales. 

The expected, either artificially constructed 
or geometrically designed si)ectacle features are 
completely ignored. The show bases its bid for 
entertainment and commercial success upon 
proved popular ingredients — romance, drama, 
comedy, menace and music. Tersely, it has a 
likeable rich girl-poor boy premise. In this 
case. Princess Marie (Marietta eventually), an 
ornament of King Louis XV's court, is being 
forced into a state marriage with repugnant Don 
Carlos of Spain by her domineering uncle. To 
escape such a fate, she changes places with her 
maid, embarks with a boatload of girls destined 
to the wives of French colonists, in I-^ouisiana. 
Saved from pirates by the Yankee scouts, a 
glorified anticipation of the Liberty Boys, Ma- 
rietta falls in love with her chief rescuer. Cap- 
tain Warrington. 

Informing the governor, who already has 
much trouble on his hands, that she's a bad 
girl, not fit to marry an honorable colonist, she 
gets a job in a marionette show. Another shock 
is handed the jittery Governor when her prince 
Uncle and Don Carlos come to New Orleans 
to take the errant princess home. Marietta also 
is frightened when she is informed that unless 
she returns quietly, something not at all funny 
will happen to Warrington, who has grown to 
return her affection. But not for nothing is 
Warrington an American hero. Invading the 
Governor's farewell ball, he persuades her to 
elope with him into the inland wilderness where 
the strong arms of his faithful soldiers are ade- 
quate insurance that all the power of France 
will not interfere with their happiness. 

As the story is told with a catchy blend of 
theatrical hokum and straight realism, the Vic- 
tor Herbert music is sung. Besides the first two 
mentioned, "Sweet Mystery of Life" by Miss 
MacDonald, and the second by Eddy, the hero- 
ine also sings "Antoinette and Anatol" and 
"Chansonette," the Marionette song with 
chorus; the Italian Street song with Eddy. He 
solos "Southern Moon" and with chorus 
"Tramp, Tramp, Tramp" and "The Owl and 
the Polecat." All voices blend in the finale 
medley of "Sweet Mystery of Life" and 
"Tramp, Tramp, Tramp." 

A radical departure from the prosaic being 

successfully made, while the most commonly ap- 
preciated entertainment — showmanship elements 
are accentuated. "Naughty Marietta" may be 
given the benefit of the enthusiastic selling that 
pertains to the popularizing of a gayly melodi- 
ous, hearty, romantic love story with music. — 
McCarthy, Hollywood. 

Produced and distributed by Metro-Goldwyn-Mayer. 
Producer, Hunt Stromberg. Directed by W. S. Van- 
Dyke. Book and lyrics by Rita Johnson Young. 
Screen play by John Lee Mahin. Frances Goodrich 
and Albert Hacket. Music by Victor Herbert. Added 
lyrics by Gus Kahn. Photographed by William 
Daniels. Running time, when seen in Hollywood, 80 
minutes. Release date, March 29, 1935. General audi- 
ence classification. 


Marietta Jeanette MacDonald 

WarnuRton Nelson Eddy 

Governor d'Annard Frank Morgan 

Madame d'Annard Elsa Lancaster 

Uncle Douglas Dumbrille 

Herr Schuman Joseph Cawthorne 

Julie Cecilia Parker 

Don Carlos Walter Kingsford 

Frau Schuman Greta Meyer 

Rudolpho Akim TamirofE 

Abe Harold Huber 

Zeke Edward Brophy 

A Dog of Flanders 



Adapted from a novel long considered a juve- 
nile literary classic, "Boy of Flanders" retains 
all the dramatic and powerful human interest 
characteristic of the book. It is distinctly in 
the better picture classification for which there 
has been such demand. 

Essentially the picture in its character por- 
trayals as well as other entertainment ingredi- 
ents is more than ordinarily serious, yet it is 
not without worthy comedy content. Also it 
departs from practiced formula in that it cen- 
ters its romantic love interest on pre-adolescent 
children and constructs a dramatic triangle 

In concise fashion, with sincere human in- 
terest aimed straight at the heart and more 
sympathetic emotions, the picture reflects an 
atmosphere of thought and action that is a 
familiar attribute in both rural and metropoli- 
tan sectors. Actually it is the story of the boy, 
Nello, whose character is influenced by his 
kindly guardian, Jehan, and the other persons 
with whom he came in contact, the Cogez 
family, the Vanderkloots, Herr Herden, the 
Sacristan, and Leo, the dog. 

With Rubens as his idol, the talented boy 
aspires to be an artist. Helping Jehan with his 
hand-drawn milk cart, every visit to town is 
just another opportunity to drink in the great 
beauty of artistic paintings. Faithfully pre- 
sented are the sequences in the story relating to 
Nello's saving the dog Leo from his cruel mas- 
ter, his nursing the dog back to health and its 
subsequent part in his life. Then follows his 
poor boy love for the rich child Maria, the 
making of the drawing which he plans for the 
price exhibition ; his selling of it to Pieter that 
he may gain money with which to provide care 
for Jehan. The climax is Nello's drawing, en- 
tered by rival Pieter, being adjudged the win- 
ning composition, and the revelation of how it 
all happened and the action of Herr Coge>. 
guaranteeing the boy's future studies, a great 
happiness for him and little Maria. 

For practical purposes, the title, except to 
those who recognize the Quida works, is of 

problematic value. Similarly, the cast, starring 
the boy whose work was favorably commented 
upon in "Wednesday's Child" and a girl child, 
Helen Parrish, who is practically unknown, and 
a number of actors usually referred to as char- 
acter people, affords little with which to work. 
Therefore selling the show resolves itself into 
convincing prospective audiences that the at- 
traction is worthy of their attention, stimulat- 
ing the interest of the younger element. Follow 
up word-of-mouth advertising should prove a 
valuable adjunct. — McCarthy, Hollywood. 

Produced and distributed by RKO Radio. Directed 
by Edward Sloman. Associate producer, William Sis- 
trom. Screen play by Ainsworth Morgan. Adaptation 
by Dorothy Yost. From the novel by "Ouida." Pho- 
tographed by J. Roy Hunt. Art director, Van Nest 
Polglase. Associate, Charles Kirk. Musical director, 
Albert Colombo. Recorded by Paul F. Wiser. Edited 
by George Crone. Running time, when seen in Holly- 
wood, 72 minutes. March 22, 1935. General audience 


Nello Frankie Thomas 

Jehan Daas O. P. Heggie 

Marie Cogez Helen Parrish 

Herr Cogez DeWitt Jennings 

Frau Cogez Ann Shoemaker 

Hans Christian Rub 

Pieter Vanderkloot Richard Quine 

Herr Vanderkloot Frank Reicher 

Frau Vanderkloot Nella Walker 

Herr Herden Addison Richards 

Mons. de Latour Joseph Swickard 

Frau Keller Sarah Padden 

Sacristan Harry Beresford 

Leo "Lightning" 


Melodramatic Romance 

For entertainment and showmanship purposes 
this attraction offers W. C. Fields and his com- 
edy ; Bing Crosby and his crooning, a combina- 
tion of singing and comedy by the Cabin Kids, 
and for story content a muchly altered and 
sometimes satiric picturization of Booth Tark- 
ington's novel originally titled "The Fighting 
Coward." The result is a melodramatic and 
sometimes tense romance. Principal locales are 
a Mississippi River showboat and an Old South 

Production values are good. The story opens 
aboard the boat and Commodore proceeds to 
amuse in his typical manner. Shifting to the 
plantation, Tom Grayson is on the spot at his 
engagement party to Elvira when he refuses 
to fight a duel with fire-eating Major Patter- 
son, fanatic exponent of the "code duello," as 
a means of satisfying imaginary outrages to 
his honor. Branded a coward by General Rum- 
ford and Elvira, but looked upon as a hero by 
Sister Lucy, Tom accepts the Commodore's 
offer to join the troupe. 

To make his new feature a drawing card, 
the Commodore exploits him as "the singing 
killer," a phoney reputation which takes on a 
literal significance, when, engaged in a wild 
brawl with Rowdy Captain Blackie, that worthy 
accidentally kills himself. With Lucy pining for 
her absent lover in a select seminary, the 
showboat sequences move to spirit of comedy 
and music, until the girls, taking a vacation, 
come to a spot where the boat is docked. There 
Commodore has billed Tom as the killer of 
a southern gentleman who happens to be Lucy's 
cousin. Of course, when Lucy discovers that 
Tom is the "killing singer," love turns to ab- 
horrence and the stage is set for the big coup. 

Suddenly becoming the real character of his 



h 2 , 19 3 5 



phoney build-up, he invades the Rumtord man- 
sion, and after giving Major Patterson and his 
equally tough brother, Joe, a thorough going 
over, leaves them cringing in fear and terror. 
Then, still the complete he-man, he busts down 
the door of Lucy's room, carries her off, and 
with the aid of the Commodore succeeds in 
convincing her that his fearsome reputation is 
only mythical. 

Elements mentioned in the opening paragraph 
constitute the dominating selling assets. Field's 
comedy, in both dialogue and action, is good 
for its full quota of laughs. Songs which Crosby 
sings are "Down by the River," "Soon" and 
"It's Easy to Remember," plus his own version 
of "Suwanee River" with Negro choral accom- 
paniment. — McCarthy, Hollywood. 

Produced and distributed by Paramount. Produced 
by Arthur Hornblovv, Jr. Directed by Edward A. 
Sutherland. Original by Booth Tarkington. Adapta- 
tion, Herbert Fields and Claude Binyon. Screen play 
by Francis Martin and Jack Cunningham. Music by 
Richard Rodgers. Lyrics by Lorenz Hart. Sound. 
Eugene Merritt. Film editor, Chandler House. Art 
directors, Hans Dheier and Bernard Herzbrun. Pho- 
tographed by Qiarles Lang. P. C. A. Certificate No. 
540. Running time, when seen in Hollywood, 80 min- 
utes. Release date, March 8. 1935. General audience 


Tom Grayson Bing Crosby 

Commodore Jackson W. C. Fields 

Lucy Rumford Joan Bennett 

Alabam Queenie Smith 

Elvira Rumford Gail Patrick 

General Rumford Claude Gillingwater 

Major Patterson John Miljan 

Joe Patterson Ed Pawley 

Captain Blackie Fred Kohler, Sr. 

Rumbo John Larkin 

Lavinia Libby Taylor 

Stage manager Harry Meyers 

Hefty Paul Hurst 

Miss Markham Theresa Maxwell Conover 

The Cabin Kids and Molasses and January. 

The Devil is a Woman 


When it comes to selling this show success- 
fully — all its commercial advantages as well 
as handicaps being understood — showmen have 
their work cut out for them. From experience, 
exhibitors and public are thoroughly familiar 
with the character of entertainment the Joseph 
Von Sternberg-Marlene Dietrich combination 
makes and the manner in which they make it. 

Arty, abstruse symbolism qualifying its ac- 
tion, dialogue, musical accompaniment, produc- 
tion features in backgrounds and crowd group- 
ings and even the manner in which the camera 
is used, the story is interpreted in a way that 
is probably understandable, and thus appealing, 
to more intellectually inclined drama students. 
The masses — preview audience being the meas- 
uring gauge — just as probably will find it diffi- 
cult to comprehend. 

"The Devil Is a Woman" is a drama of a 
woman who could dish out trouble, a man 
who could take it when the return he got for 
his love would have justified him half a dozen 
times in killing her, and another man, who, 
despite all he had been told about the woman, 
was more than willing to try to win her. 

The locale is Spain. Many minutes in the 
early part are given to a panorama of a noisy, 
serpentine Mardi Gras carnival. Masked An- 
tonio gets a running glimpse of masked Concha 
and is immediately afire with desire. She eludes 
him, but does make a date. Later Antonio 
meets Don Pasqual and tells him about the 
angelic vision he just has encountered. Then 
as Don Pasqual reminisces and flashbacks por- 
tray the story, the audience gets a vivid picture 
of what a devil rather than an angel this capti- 
vating creature is, as one experience, each more 
amazing than its predecessor, is related. 

Hearing all this, Antonio still keeps his date. 
The rendezvous is interrupted by jealous Don 
Pasqual and a duel is precipitated. Refusing to 
fire, Don Pasqual is supposedly mortally 
wounded, and with Concha, Antonio prepares 
to leave Spain. At the frontier Concha, true 
to character, runs out on him, presumably re- 
turning to Don Pasqual. 

Essentially, the picture and its characters 
being extremely artificial to such an extent that 

there is no possibility of audience sympathy 
accruing to any, selling it to a popular extent 
resolves itself into capitalizing name and pro- 
duction values. Always a difficult proposition 
to solve, the necessity for personal ingenuity 
and ability to draw patronage assumes an un- 
usual importance. — ^McCarthy, Hollywood. 

Produced and distributed by Paramount. Directed 
and photographed by Joseph Von Sternberg. Original, 
Pierre Louys' "The Woman and the Puppet." Adap- 
tation by John Dos Passos. Continuity, S. K. Win- 
ston. Music by Ralph Rainger. Lyrics by Leo Robin. 
Costumes by Travis Banton. Sound, Harry D. Mills. 
Film editor, Sam Winston. Art director, Hans Dreier. 
P. C. A. Certificate No. 538. Running time, when 
seen in Hollywood, 90 minutes. Release date, March 
15, 1935. Adult audience classification. 


"Concha" Perez Marlene Dietrich 

Don Pasqual Lionel Atwill 

Antonio Galvan Cesar Romero 

Don Paquito Edward Everett Horton 

Senora Perez Alison Skipworth 

Morenito Don Alvarado 

Dr. Mendez Morgan Wallace 

Tuerta Temple Pigott 

Secretary Paco Moreno 

Maria Jill Dennett 

Conductor Lawrence Grant 

Gypsy Dancer Luisa Espina! 

Foreman Snowbound Train Hank Mann 

Miguelito Donald Reed 

Drunk in Carnival Cafe Eddie Borden 

Times Square Lady 


Dramatic Romance 

This is an average attraction, modernly timed, 
localed in New York. It is a topical drama ro- 
mance with singing and comedy interpolations 
by Pinky Tomlin. The basic story is embel- 
lished by a continual atmosphere of gangster 

An air of popularly fashioned melodrama pre- 
vailing, it is actually a story of a girl (Virginia 
Bruce) and her dealings with her deceased 
father's minions. Fielding, the legal brains, Gor- 
don, manager of the night club, Culver of the 
hockey team, Kramar of the racing sheet, Ken- 
nedy of the dog track and Brennan, general 
handy man, conspire to gain control of her 
properties by making them appear to be losing 
liabilities. But Toni, even though she is an 
Iowa cornfed, quickly and under the expert 
guidance of Babe metamorphoses into a lady of 
the .world who not only knows all the questions 
but anticipates their answers. 

As the yarn unfolds, it reveals Pinky Tom- 
lin, writer and singer of "You're the Object of 
My Affections," as a personality whose work 
here is almost sure to merit future reckoning. 
As the racketeers prepare their coupe, Gordon 
finds himself falling in love with Toni. Shunt- 
ing his paramour Margo into the discard, senti- 
ment causes him to doublecross his pals, so that 
Toni, instead of winding up victimized and 
broke, receives a good sized fortune for her 
strange legacy. The romantic climax is pre- 
ceded by a running battle in which Mack, Gor- 
don's man Friday, first turns traitor to his pro- 
tectors and then heroizes himself. 

While there is much that is formula with 
which to sell the picture in the way of names 
and story content, the featuring of Tomlin, 
already highly publicized, looks like one of the 
means for novelty of appeal. — McCarthy, 

Produced and distributed by Metro-Goldwyn-Mayer. 
Produced by Lucien Hubbard. Directed by George B. 
Seitz. Screen play by Albert Cohen and Robert Shan- 
non. Synchronized score by Edward Ward. Record- 
ing director, Douglas Shearer. Art director, Cedric 
Gibbons. Associates, William A. Horning and Edwin 
B. Willis. Wardrobe by Dolly Tree. Photographed 
by Lester White. Film editor, Hugh Wynn. Running 
time, when seen in Hollywood, 68 minutes. Release 
date, April 12, 1935. General audience classification. 


Steve Gordon Robert Taylor 

Toni Bradley Virginia Bruce 

Pinky Tomlin Pinky Tomlin of Durant, Okla. 

Margo Heath Helen Twelvetrees 

Babe Isabel Jewell 

Mack Nat Pendleton 

Jack Kramer Jack LaRue 

Mr. Fielding Henry Kolker 

Slim Kennedy Raymond Hatton 

Ed Brennan Russell Hopton 

Dutch Meyers Fred Kohler 

Brick Culver Robert Elliott 

When a Man's a Man 


A western with a slightly off-pattern story 
twist, this Sol Lesser production has all the 
action the western fans will want, in addition 
to the strong western starring name of George 
O'Brien, one of the most popular of the action 
stars. There should be further sales value in 
the origin of the film, a novel by the widely 
read and perennially popular Harold Bell 

Paul Kelly, seen in numerous roles but rarely 
in westerns, is an asset to the film. Dorothy 
Wilson, in the feminine lead, is sufficiently 
attractive and virile. As action material it may 
best be sold in the weekend position. 

Against a background of rugged western 
scenery, it combines villainy, a touch of comedy, 
swiftness of pace and romance, which is not 
quite as incidental as in most western films. 

O'Brien, wealthy young easterner, goes 
broke, boards a train westward-bound, gets off 
for a stretch in an Arizona town, attempts to 
ride an "un-ridable" horse at a rodeo for the 
prize money that is in it, is tossed off the horse, 
and misses his train. Stranded, he walks to the 
ranch from which the horse has come, after 
saving Miss Wilson from an annoyance. He 
finds that the girl is the daughter of the ranch's 
owner, and that Kelly, the man who had helped 
him on the horse, is the foreman. 

The ranch cattle are dying for want of water 
because of the trickery of Harry Woods, who 
seeks to buy the ranch at a ridiculously low 
figure. Kelly gives O'Brien a job, and he turns 
his attention three ways : to Miss Wilson, whom 
he finds extremely attractive ; to the horse, 
which he is determined to ride ; to his job and 
the difficulties in which the ranch finds itself. 
He devises a plan to dynamite under Wood's 
neighboring lake, thus bringing water to the 
dying cattle on the other side of the fence. 

Then he realizes that Kelly is in love with 
Miss Wilson. Kelly determines to leave the 
ranch, but drunk, he tells Woods of the dyna- 
mite plan. Woods goes armed to head off the 
explosive ruin of his plot. Miss Wilson mean- 
while, finding O'Brien missing, has gone to turn 
the trick herself. O'Brien's horse is shot from 
under him, he captures and rides the bronco of 
his downfall, and in a lively sequence saves the 
day for cattle, Kelly and ranch. Then Kelly 
rides away, understanding where Miss Wilson's 
interest lies. — Aaronson, New York. 

Distributed by Fox. Produced by Sol Lesser, Pre- 
sented by Sol Lesser and John Zanft. Directed by 
Edward F. Cline. Adapted from novel by Harold 
Bell Wright. Adaptation and screen play, Agnes 
Christian Johnston and Frank M. Dazey. Story su- 
pervision, Harry Chandlee. Production manager, Frank 
Melford. Photography, Frank B. Good. Art direction, 
Robert Ellis. Film editor. Don Hayes. Sound re- 
corder. Hal Bumbaugh, Running time. fj8 minutes. 
Release date, Feb. 15, 1935. General audience classifi- 


Larry Knight George O'Brien 

Kitty Baldwin Dorothy Wilson 

Phil Acton Paul Kelly 

Nick Cambert Harry Woods 

Newsboy Jimmy Butler 

Dean Baldwin Richard Carlisle 

Garby Clarence Wilson 

Gibbs Edgar Norton 

Sweet Music 


Comedy Drama with Music 

The alert showman has plenty with which to 
work in selling this first starring picture of 
Rudy Vallee. Of course, the key spot, in film 
and the selling thereof, is Vallee, he who 
crooned his way into the popularity of a gog- 
gle-eyed wave of femininity, and who, most 
significantly, has very largely maintained that 
popularity through the several ensuing years. 
In a field where the lights flash up to startling 
brightness, but dim equally quickly, Vallee has 
held the brightness. 

The feminine contingent should be largely 
sold merely by ballyhooing the star's name. 
— They may also be told — and this may be used 



(A a 




I / 




AMERICAN SCREEN 1': ..... . 

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March 2. 1935 

to attract the men as well — that the film has a 
predominating element of real comedy, and that 
the cast is studded with names that have long 
meant hearty laugh dialogue and situations. Ro- 
mance moves through the story, but it is dis- 
tinctly comedy-motivated. 

To those who lack the Vallee-complex, it 
might be well to mention that Mr. Vallee 
emerges as an actor handling himself and his 
role with an assurance which puts his appear- 
ance largely on the credit side of the ledger. 
Ann Dvorak, opposite, as a small-time song- 
and-dance girl with large hopes for a bright 
future and the big time, is appealing. For com- 
edy there are these excellent names : Ned 
Sparks, Robert Armstrong (who proves he can 
do comedy roles well), Allen Jenkins, Alice 
White, Joseph Cawthorn and Al Shean. Helen 
Morgan, in a brief moment, sings one of her 
better known numbers. 

The story has Vallee, a popular band leader, 
engaged for a Chicago club show, and pursuing 
what appears to be a long-standing feud with 
Miss Dvorak. She resorts to personalities, and 
he aggravates it by teasing her. Her agent is 
the rapid-tongued Sparks, in love with Miss 
Dvorak — and his 10 per cent commission. The 
show closes, Vallee moves to New York, and 
Miss Dvorak receives a good offer to join, not 
knowing that Vallee engineered an engagement. 

From that point the story moves rapidly, in- 
terspersed with such comic moments as the 
insane concoctions of Press Agent Jenkins ; the 
attempts of Armstrong, racketeer brother of 
Miss White, chorus girl, to become a crooner 
because it seems a good business, using a gun 
to sell his idea ; the dialect comedy of Caw- 
thorn and Shean as the two cigar manufacturing 
brothers who sponsor the radio appearance of 
Vallee, when the story moves to the air-waves ; 
the insanely destructive Milt Britton band. And 
through it Miss Dvorak moves from hope to 
despair, as she gets engagement after engage- 
ment, fails in each, and the while is haunted 
by the smiling face of Vallee, with her repeated 
expression of annoyance a certain indication 
that she loves him. Then it is Vallee's task to tell 
her she is a failure on his radio program, but 
an accidentally developed air comedy sketch 
gives her hope again. Finally, as Vallee de- 
clares his love, her worries axe over. 

The song numbers are good, and plentiful. 
The production in general is light, lively and 
amusing, for any kind of audience. — Aaronson, 
New York. 

Produced and distributed by Warner Bros. Director. 
Alfred E. Green. Original story by Jerry Wald. Carl 
Erickson and Warren DufF. Photography by James 
Van Trees. Film editor, Bert Levy. Art director. 
Robert Haas. Music and lyrics by Warren and Dubin, 
Fain and Kahal, and Dixon and Wrubel. Musical 
arrangements by Ray Heindorf. Dances and ensem- 
bles directed by Bobby Connolly. P. C. A. Certificate 
No. 536. Running time, 95 minutes. Released Feb. 23, 
1935. General audience classification. 


Skip Houston ■ Rudy Vallee 

Bonnie Haydon Ann Dvorak 

Ten Percent Hudson Ned Sparks 

Helen Morgan By herself 

Dopey Malone Robert Armstrong 

Barnev Gowan Allen Jenkins 

Lulu Betts Alice White 

Sidney Selzer Joseph Cawthorn 

Sigmund Selzer Al Shean 

Grant Phillip Reed 

Billy Madison William B. Davidson 

Louis Trimble Henry O'Neill 

Mr. Thomas Addison Richards 

The mayor Russell Hicks 

Mr. Johnson Clay Clement 

Rudy Vallee's Connecticut Yankees. 

The Frank and Milton Britton Comedy Band. 

Home on the Range 


This western gains measurably by reason of 
superior name and performance values, and 
through the injection of novelty story angles, 
not generally found in regular run westerns. 

Randolph Scott has gained for himself a defi- 
nite popularity among devotees of the western 
action yarn, and a full concentration on his 
name should be of value. In addition there is 
Jackie Coogan, now grown into his later teens, 
and consistently a rather capable young player. 

Supporting these two are Evelyn Brent, Dean 
Jagger, Addison Richards and Fuzzy Knight in 
particular, and they all contribute effectively. 

The introduction of a racing angle into the 
story takes it a bit out of the ordinary, and 
serves at the same time to introduce a fast 
action sequence. The mortgage-on-the-ranch 
angle is there, but in this instance it is in the 
hands of a group of fast-moving crooks, rather 
than the unscrupulous bandit gang. 

Here we have Scott and his younger brother, 
Coogan, owners of a ranch which is in financial 
straits, and the object of the too solicitous at- 
tentions of Richards and Miss Brent, who had 
come down after a cleanup in Alaska, leaving 
the third member of the gang, Jagger, in an 
Alaskan jail. Miss Brent develops an interest 
in Scott, which is definitely reciprocated. She 
is unaware that Richards is set to take Scott 
for everything he has. Jagger, out of jail, joins 
them, much to Miss Brent's annoyance. When 
Scott gets cash for some of his cattle, Richards 
sees to it that he "loses" it, via a few thugs, 
and Scott's only hope is that the pride of his 
small racing stable come through in the big 
race. He estranges his brother, who trained 
the horse, by bringing in a professional jockey, 
who is in the pay of Richards and there to see 
that Scott's horse does not win. 

Just before the race Richard's men set fire 
to the forest near the Scott ranch, and there is 
action and thrill when Scott and Miss Brent 
are caught in the flames. They escape, Scott 
discovers the truth, and at the last minute Coo- 
gan goes in to ride the horse. He wins, and 
Scott "forcibly" regains his money and the 
mortgage from Richards, who, in turn, is 
charged with the murder of Jagger. Scott and 
Miss Brent complete the romantic note. 

From a story by the perennially popular Zane 
Grey, this appears highly satisfactory material 
for the weekend action spot on the bill. — Aaron- 
son, New York. 

Produced and distributed by Paramount. Directed 
by Arthur Jacobson. Original by Zane Grey. Screen 
play by Ethel Doherty and Grant Garrett. Adapta- 
tion by Charles Logue. Photographed by William 
Mellor. P. C. A. Certificate No. 310. Running time, 
55 minutes. Release date, Dec. 21, 1934. Previous 
title, "Code of the West." General audience classifi- 


Jack Jackie Coogan 

Tom Hatfield Randolph Scott 

Georgia Evelyn Brent 

Thurraan Dean Jagger 

Beady Addison Richards 

"Cracker" Fuzzy Knight 

Girl entertainer Ann Sheridan 

Bill Morris Howard Wilson 

Benson Phillip Morris 

Undertaker Albert Hart 

"Flash" Allen Wood 

Butts Richard Carle 

Brovra Ralph Remley 

Shorty C. L. Sherwood 

Hotel clerk Francis Sayles 

Lem Alfred Delcambre 

Lightning Strikes Twice 

(RKO Radio) 
Comedy Mystery 

This melange has little substantial entertain- 
ment property in its makeup, being, in a sense, 
"neither fowl, fish, nor good red herring." It 
never quite achieves real fun, and its mystery 
falls into a hodge-podge of hand-reachings, gun 
shots, slinking figures and the like, which are 
not mysterious and contain little or no dramatic 

The comedy element, however, must be con- 
sidered the outstanding selling element. The 
cast names in themselves are of insufficient 
strength to attract patronage. The mystery 
angle cannot be emphasized since the audience 
will not find the mystery it will be led to ex- 
pect. Ben Lyon, personable and capable per- 
former, is in the leading role, supported bv Pert 
Kelton, Skeets Gallagher, Walter Catlett, 
Laura Hope Crews and Thelma Todd, romantic 
mainstay. Miss Todd is physically attractive 
and effective in short subject comedy, but falls 
short in her feature appearance here. 

The weak story revolves about the expected 
arrival of Lyon's aunt and his fiancee and the 
complication which results when he tries to 
rid the house of a lowbrow and annoying vaude- 

ville team before the arrival. Intermingled are 
a supposed murder, a disappeared butler, blood- 
stained garments, and the stupid detective, who 
has become an apparently inevitable and some- 
what wearying impediment hanging on the 
figurative coat tails of every mystery film pro- 

Rather ineffective material at best, it per- 
haps would be better played somewhere in an 
inconspicuous midweek position. — Aakonson, 
New York. 

Produced and distributed by RKO Radio. Associate 
producer, Lee Marcus. Director, Ben Holmes. Screen 
play by Joseph A. Fields and John Grey. Original 
story by Marion Dix and Ben Holmes. Photographed 
by Edward Cronjager. Art direction by Van Nest 
Polglase and Carroll Clark. Recorded by John L. 
Cass. Edited by Arthur Roberts. P. C. A. Certifi- 
cate No. 352. Running time, 66 minutes. Release date, 
Dec. 7, 1934. General audience classification. 


Stephen Brewster Ben Lyon 

Judy Nelson Thelma Todd 

Fay Pert Kelton 

Aunt Jane Laura Hope Crews 

Wally Richards "Skeets" Gallagher 

Marty Hicks Chick Chandler 

Gus Walter Catlett 

Captain Nelson John Hale 

Delia Margaret Armstrong 

Phillips John David.son 

Dugan Fred Kelsey 

Lieut. Foster Ed. Deering 

Casey Roger Grey 

Policeman Walter Long 

The Country Boy 


There is light and colorful entertainment for 
youngsters and oldsters in this number of the 
Merrie Melodies cartoon series in good color. 
Little Peter of the rabbit family who plays 
hookey from school, gets in the cabbage patch 
and is disastrously pursued by the farmer is 
set to a lively, lilting tune as he is warned of 
the seriousness of his misconduct by his 
brothers and sister. — Running time, 7 minutes. 

Crossroads of the World 


Of varied travel interest is this subject of the 
excellent Magic Carpet of Movietone series, in 
which the camera moves about Singapore, one 
of the strangest of cities, with its curious mix- 
ture of the ancient and the modern, its cosmo- 
politan population of many nationalities and at 
least three colors. The audience is then taken 
into the jungle interior, on a visit to a native 
tribe which in itself is of interest. Rates as 
an entertaining subject. — Running time, 9 

Stranger Than Fiction 


Of Interest 

There is the standard proportion of general 
audience interest in this subject, Number 7 of 
the series, in which the well known voice of 
James Wallington renders the accompanying 
explanatory material. The camera ranges the 
world, picking up oddities here and there, some 
amusing, some more serious, but all interesting. 
If anything, the series' one fault lies in at- 
tempting to cram too many items into its short 
length, but it is none the less interesting ma- 
terial. — Running time, 8 minutes. 

Secrets of Life 

( Gaumont-British ) 
Clever Nature Studies 

This one-reel series is excellently done and 
offers plenty of amusing incident for the general 
audience, as well as some real instruction in 
the life and manners of wild creatures. It shows 
bird life from the inside in a subject picturing 
the history of nestlings from the hatching stage 
until self-support. Frog life and courtship make 
another good reel, and in "Thistledown" and 
"Butterflies and Nettles" there is great picto- 
rial beauty as well as instruction. These films 
should improve any bill. — Allan, London. 


Now-They're Adventuring in Mystery 




Produced by John Stone 

Directed by Eugene Forde. Screen play by 
Arthur Kober. Story by Vincent Starrett. 



March 2, 1935 





"Wilderness Mail" 


Chaplin Prod. No. 5 


"Hot News" 

"Party Wire" 

"Man Eating Tiger" 

"It's A Small World" 

"$10 Raise" ' 

"Doubting Thomas" 
"Heaven's Gate" 
"Safe in Jail" 

"Secret Lives" 


"Public Opinion" 


"The Old Homestead" 


"Mask of the Vampire'' 

"Order Please" 

"China Seas" 


"The Crusades" 

"People Will Talk" 


"Becky Sharp" 

"Sylvestre Bonnard" 
"The Informer" 
"Village Tale" 
"Break of Hearts" 


"Les Miserables" 

"Cardinal Richelieu" 


"Werewolf of London" 

"Mister Dynamite" 

"Stone of Silver Creek" 


"A Midsummer Night's 

"Oil for the Lamps of China" 

"The Case of the 
Curious Bride" 


Story, James Oliver Curwood. Director: Forrest 

Original screen play, Charles Chaplin. Director: 
Charles Chaplin. 

Original screen play, Anthony Coldewey. Di- 
rector: Lambert Hillyer. 

Novel, Bruce Manning. Screen play, John How- 
ard Lawson, Ethel Hill. Director Erie Kenton. 

Based on play, Ben Hecht, Rose Caylor. Screer 
play, Patterson McNutt, H. W. Haneman. 
Director: Clyde Bruckman. 

Based on a short story, Albert Treynor. Screen 
play, Gladys Lehman, Sam Hellman. Di- 
rector: Irving Cummings. 

Story, Peter B. Kyne. Screen play, Henry 
Johnson, Lew Breslow. Director: George Mar- 

Based on stage play, Geo. Kelly. Adaptation, 
Bartlett Cormack. Director: David Butler. 

From a story, Florence Leighton Pfalzgraf. 
Director: John Robertson. 

Based on story, Sidney Skolsky, Claude Binyon. 
Screen play, Herbert Asbury. Director: Wm. 

From a story, Ilya Zorn. Director: Bruce 

Original screen play, Karen de Wolf. Director: 
Frank Strayer. 

Screen play, W. Scott Darling. 

Director: Wm. 

Story, Guy Endore, Bernard Schubert. Dialogue, 
Samual Ornitz Kraft, John Balderston. Di- 
rector: Tod Browning. 

Story, Herman Melville. Scenarized, John Far- 
row. Director: Richard Thorpe. 

Stage play, Edward Childs Carpenter. Adapted, 
Frank Davis. Director: Jack Conway. 

Novel, Crosbie Garstin, Adaptation, Jules Furth- 
man. Director: Tay Gamett. 

Screen play, Harold Lamb, Dudley Nichols, 
Waldemar Young. Director: Cecil B. DeMille. 

From original, Sophie Kerr and an original by 
F. Hugh Herbert. Screen play, Herbert Fields. 
Director: Alfred Santell. 

Play, Langdon Mitchell. From novel, "Vanity 
Fair," Wm. Makepeace Thackery. Screen 
play, Francis Edw. Faragoh. Director: Rou- 
ben Mamoulian. 

Novel, "Crime of Sylvestre Bonnard": Anatole 
France. Screen play, Francis Faragoh. Di- 
rector: Geo. NichoUs, Jr. 

Original, Llam O'Flaherty. Screen play, Dudley 
Nichols. Director: John Ford. 

Novel, Phil Stong. Screen play, Allan Scott. 
Director: John Cromwell. 

Story, Lester Cohen. Screen play, Sarah Y. 
Mason, Victor Heerman. Director: Phillip 

Original, Victor Hugo. Screen play, W. P. 
Lipscomb. Director: Richard Boleslaws'ici. 

Screen play, Nunnally Johnson, Cameron Rogers. 
Director: Rowland Lee. 

Story, Robert Harris. Director: Stuart Walker. 

Story, Dashiell Hammett. Screen play, Harry 
Clork, Doris Malloy. Director: Alan Crosland. 

Story, H. H. Harris. Screen play, dialogue, 
Earle Snell. Director: Nick Grinde. 

Wm. Shakespeare's play. Original music by 
Mendelssohn, arranged by Erich Wolfgang 
Korngold. Screen play, Chas. Kenyon, Mary 
McCall, Jr. Directors: Max Reinhardt, Wm. 

From novel, Alice Tisdale Hobart. Screen play. 
Laird Doyle. Director: Mervyn LeRoy. 

Original story, John Fante, Frank Fenton, Sam- 
uel Gilson Brown. Adaptation, screen play, 
Harry Sauber. Director: D. Ross Lederman. 

Based on Liberty Magazine story, Erie Stanley 
Gardner. Director: Michael Curtiz. 


Kermit Maynard, Sid Saylor, Fred Kohler. 

Charles Chaplin, Paulette Goddard, Carter DeHaven, 
Henry Bergman. 

Richard Cromwell, Billie Seward, Wallace Ford, Jack 

Jean Arthur, Victory Jory, Clara Blandick, Charlie 
Grapewin, Geneva Mitchell. 

Lew Ayres, Claire Trevor, Zasu Pitts, Walter King, 
Jack Haley, Mitchell and Durant, Tala Birell. 

Spencer Tracy, Wendy Barrie, Chas. Sellon, Virginia 
Sale, Raymond Walburn, Irving Bacon. 

Edward Everett Horton, Karen Morley, Glen Boles, 
Rosina Lawrence, Richard Tucker, Berton Churchill, 
Ray Walker, Alan Dinehart, Frank Melton, William 

Will Rogers, Billie Burke, Alison Skipworth, Sterling 
Holloway, Andrew Tombes, Frances Grant, Gail Pat- 
rick, Frank Albertson. 

Shirley Temple, Joel McCrea, Lyle Talbot, Rosemary 
Ames, Doris Nolan. 

Mona Barrie, Gilbert Roland, Hardie Albright, Herbert 
Mundin, Nick Foran. 

Lois Wilson, Crane Wilbur, Shirley Grey, Luis Alberni, 
Andres de Segurola, Florence Roberts, Gertrude 
Sutton, Ronnie Cosbey. 

Lawrence Gray, Mary Carlisle, Dorothy Lee, Eddie 
Nugent, Lilhan Miles, Lorraine Bridges. 

Lionel Barrymore, Jean Hersholt, Elizabeth Allan, 
Henry Stephenson, Donald Meek, Jesse Ralph, Bela 
Lugosi, Lionel Atwill. 

Mala, Lotus Long. 

Conrad Nagel, Steffi Duna, Nat Pendleton, Harvey 
Stephens, Louise Henry, Leila Bennett, Franchot 
Tone, Una Merkel. 

Wallace Beery, Clark Gable, Jean Harlow, Dudley 
Digges, Lewis Stone, Charles Butterworth. 

Henry Wilcoxon, Loretta Young, Ian Keith, Alan Hale, 
Pedro de Cordoba, Katherine DeMille, Ramsey Hill, 
C. Henry Gordon, George Barbier, C. Aubrey Smith, 
Lumsden Hare, Hobart Bosworth. 

Charlie Ruggles, Mary Boland, Leila Hyams, Dean 
Jagger, Ruthelma Stevens, Stanley Andrews, Sarah 

Miriam Hopkins, Alan Mowbray, Mrs. Leslie Carter, 
Wm. Stack, Frances Dee, Nigel Bruce, Cedric Hard- 
wicke, Billie Burke. 

Anne Shirley, Helen Westley, O. P. Heggie, Trent 
Durkin, Elizabeth Patterson. 

Victor McLaglen, Heather Angel, Preston Foster, 
Margot Grahame, Wallace Ford, J. M. Kerrigan, Joe 

Randolph Scott, Kay Johnson, Janet Beecher, Robert 
Barrat, Dorothy Burgess, Edward Ellis, Ray Mayer, 
Guinn Williams, Donald Meek, Chas. Bennett. 

Katharine Hepburn, Charles Boyer, John Beal, Inez 

Fredric March, Charles Laughton, Rochelle Hudson, 
Sir Cedric Hardwicke, Florence Eldridge, Frances 

George Arliss, Edward Arnold, Maureen O'Sullivan, 
Frances Lister, Cesar Romero, Halliwell Hobbs. 

Henry Hull, Valerie Hobson, Warner Oland, Lester 

Matthews, Clark Williams. 
Edmund Lowe, Jean Dixon, Esther Ralston, Victor 

Varconi, Verna Hillie, Jameson Thomas, Matt Mc- 

Hugh, Joyce Compton. 
Buck Jones, Noel Francis, Peggy Campbell, Marion 


James Cagney, Dick Powell, Joe E. Brown, Jean Muir, 
Frank McHugh, Ian Hunter, Hugh Herbert, Anita 
Louise, Victor Jory, Mickey Rooney, Olivia de Havi- 
land, Dewey Robinson, Ross Alexander, Hobart Cava- 
naugh. Grant Mitchell, Nina Theilade, Arthur 

Pat O'Brien, Josephine Hutchinson, John Eldredge, 

Jean Muir, Lyle Talbot. 
Jackie Cooper, Mary Astor, Sidney Miller, Roger Pryor, 

Jimmy Butler, George Ernest. 

Warren William, Margaret Lindsay, Claire Dodd, 
Donald Woods, Allen Jenkins, Thomas Jackson, Olin 
Rowland, Barton McLane. 
























Central Oity Amusement Company 

■ t6JK' . has tjaer- 

,.,..ao3-. personal racaxis. 

STgjSt (orpoKiflon / ^ \ 

"Tremendous aud 
ience appeal! Un^ 
usually good!" 

r. Siterr 

, . K>f'K(\ TJrEATIi 

ami Bnmdujay, 


"Your single reels 
are without a peer!'' 

^ MX- \\ 
^ 1964 

"Stand with the best 
in the field! Won- 
derful product!" 

Jack Y. Bermaii 

— F. H. Diirkee 


-ir. altar:- 



January XB, 

16 no Ljacsc 
J Colii.Tiui:. pi :t:^ 
: year >yith -he 
' VLiiyed arid on ti.t 

' short £U-.'j!.ct3 released 

tViia year- "four one reel gi:v.jDCt3 
'5:iQnclou3 audience appeal, eapecliiLly\ 

■ plJiyed 'in-i they 
Yoxir t^vi 



„,tt atop f 

'=tu«3 Corp. 

■^"^ =«ae ha^ 


" "«arde, I^uT M 

Kansas Gl'^J' 
pear ». Wl"''. 

i-ie nave all of ^^^^ttllave — j, 

-re«rr".ualuy t'^- °" ' 
or better h" 

^. „r>iir Bubje 

"As good or bettei 
than any on the 

S. Bernard Jaffee 

under ^"""„, ..ntj than ""'J — ^■^■■^^ 
or better quality 

.u^ence .actlen^S^r^£^g5^t.=e^ 
our patrona. 

very truly youra, taKhTRS, 

FixWiif LoAST tJERVicE Cdrpdhation 


Salt. Lai;t city, Utall 
Jaauaiy 2}, 1935 

Majestic Theatre 

MoDwiard & Burt 

Barron, Wisconsin 

Cclmnbla Picture, =orpt,„,4„„ 

'29 aarenth Arenae ! 
Bam fork city 


r ' -n..t.e„to.. a.„«t.a 

"eat line 3,,,^^ autjaots that ,e axe 

"The best lineu 
we are playini 
Round out any fe( 

J. R. McDonald 


Produced by Charles B. Mintz 


Produced by Charles B. Mintz 


Produced by Walter Putter— Written 
and spoken by John P. Medbury 


Produced by Charles B. Mintz 


Produced by Mentone Productions, Inc. 
in cooperation with Literary Digest 


Produced by C. S. Clancy 


Screen Snapshot reporter 
Harriet Parsons 




March 2 , 1935 

. I I . 





I have spoken of the necessity that man- 
agers be able to examine applicants for the 
positfon of projectionists and to form some 
conclusion as to their capability. 

One theatre manager told me : "What 
good would that do? The union won't stand 
for an examination." Arrant nonsense ! No 
self-respecting union and no self-respecting 
union officer either could or would make 
any such objection, provided the union officer 
(business representative, presumably) is in- 
vited to be present at the examination, and 
provided the examination contains no trick 
questions. Moreover, it requires no com- 
plicated examination to ascertain whether 
a pi'ojectionist is well versed in his profes- 
sion. I could ask not to exceed half a dozen 
rather simple questions that would give me 
a pretty good idea as to his fitness. The 
question is: Are yoii,, Mr. Manager, compe- 
tent to examine into the capabilities of ap- 
plicants for a projectionist position? If yon 
are not, then how in the name of Heaven 
can yon, expect to obtain efficient help in the 
one most important spot in a motion picture 

Aid in the Bluebook 

As to how to become competent to judge 
projection help, I believe the Bluebook of- 
fers the one best solution. The new Blue- 
book, soon to be issued, is so made up that 
you should be able to ask intelligent ques- 
tions and know positively whether a man 
answers intelligently. I offer projectionists 
no apology for making this suggestion to 
managers. You should know your business. 
If you do you certainly can answer any le- 
gitimate question asked concerning projec- 
tion work, and there are no questions in the 
Bluebook that are not perfectly legitimate. 

It is quite true I have had some instances 
brought to my attention where unions have 
refused to displace a man a theatre man- 
ager declared to be lacking in knowledge. 
Except in a very few instances, however, 
when such cases were investigated, it devel- 
oped that the refusal was based upon the 
claim that the manager was himself not 
qualified to judge, and I must concede that 
the claim is too often quite true. 

If the manager lacks that knowledge he 
cannot possibly know whether there is waste 
in electrical power and equipment. 

Would Invite Business Agent 

It is of course not expected that as a man- 
ager you yourself will have detailed per- 
sonal knowledge of projection work. It is 
merely your duty to be able to determine 
whether the applicant knows or does not 
know his business. Were I in your place 
and a man was sent by a union, I would re- 
quest the business agent to accompany him. 
If no union is involved, then of course you 
may examine at your own convenience. 

I would explain to the business agent that 
I am in charge of a theatre in which a man 
is wanted to take charge of and handle 

equipment that costs (state the cost) ; 

that the income of the theatre would be to a 
considerable extent dependent upon whether 
this equipment be handled expertly or other- 
wise ; that to a considerable extent the over- 
head expense incident to projection depends 
upon whether expert knowledge is applied 
to the work ; therefore in the business 
agent's presence, I must ask the man he is 
supplying me certain questions to ascertain 
the extent of his knowledge of visual and 
sound projection. 

I would ask the applicant the following 
questions : 

^ Age, residence, whether married or sin- 
' gle. All of these factors have some bear- 
ing. Stability and judgment cannot be ex- 
pected in any considerable degree in one too 
young. Residence too far from the theatre, 
while not a bar if transportation is good, 
may be a serious problem otherwise. While 
it is not always true, it is reasonable to pre- 
sume a married man supporting a family is 
more likely to value his job and "stay put" 
than is one who is footloose and free. 

2 Did you serve an apprenticeship in pro- 
jection? If so, how long and where? 
If not, just how did you become a projec- 
tionist? We may reasonably assume that 
the man who has served a real apprentice- 
ship, presumably under a competent projec- 
tionist, is much more likely to be well 
grounded than one who merely "busted in." 

3 In what theatres have you been em- 
ployed as projectionist and for how 
long in each one ? This I would ask for 
the reason that, while it is not necessarily 
true, too frequent changes would seem to 
indicate more or less lack of stability and 

4 What projection textbooks do you own 
and just what projection departments 
or publications do you read regularly? 
What ones, if any, do you subscribe to? 
While it is probably true that many projec- 
tionists reading this will emit a vociferous 
"phooey," it is a very highly important 
question. The projectionist of today is 
placed in charge of complicated, costly, very 
closely constructed mechanisms that use con- 
siderable amounts of costly electric power. 
These equipments will render to theatre 
audiences all possible available values both 
visual and sound, or will fail to do so, ac- 
cording to whether they are properly han- 
dled, adjusted and kept in condition. They 
will be expensive or relatively inexpensive 
in upkeep, according to how they are ad- 
justed, lubricated and in general cared for. 

It cannot possibly be expected that the 
equipment will be well handled properly by 
a man lacking in knowledge, by a man who 

does no studying and therefore does not 
keep abreast of advancements. What chance 
is there for such study unless the projection- 
ist owns textbooks and regularly reads pro- 
jection departments or publications? 

Were I an exhibitor or theatre manager 
I promptly would rejeci any applicant for 
position as projectionist who did not own 
at least one standard projection textbook 
and subscribe to at least one publication 
either having a projection department or 
wholly devoting its space to that subject. 

5 If an applicant for position as pro- 
jectionist gives thoroughly satisfactory 
answers to all the foregoing questions, and 
appears to have had considerable experience, 
I would regard it as logical to assume that 
he is at least fairly competent. He might 
therefore be accepted, at least for trial, 
without further examination. If, on the 
other hand, his answers are more or less 
unsatisfactory, he should be questioned 
further along certain lines, and that is a 
pretty tough proposition for a not-too-well 
informed manager to tackle. 

Texas Centennial 
Group Is Appointed 

The motion picture committee for Texas' 
statewide centennial celebration to be held 
in 1936 has been appointed. The com- 
mittee includes : John Rosenfeld, theatre 
critic of the Dallas News, chairman ; P. B. 
Garrett, Karl Hoblitzelle, president of the 
Interstate Circuit; T. E. Jackson and Her- 
bert Marcus. The celebration will commemo- 
rate 100 years of Texas freedom from Mexi- 
can rule. Several historical films are 

Rudolph Speth, Eastman 
Treasurer, Dies at 64 

Rudolph Speth, treasurer and a director 
of Eastman Kodak Company, died in Strong 
Memorial Hospital, Rochester, last week. 
He was 64 years old. 

Skouras Office to Move 

The New York headquarters of the Skou- 
ras Theatres Corporation will move from the 
Paramount Building to the Academy of 
Music about June 1, when the present lease 

Form Theatre Company 

Mrs. Rosa Levine, of Norfolk, Va., is 
listed as president of a new company, Elton 
Theatre, Inc., formed to operate motion pic- 
ture theatres. Other officers are Nathan 
Levine, vice-president and Robert Levine, 

IN a new field, in the space of only a few weeks, 
THE MARCH OF TIME has made a new impres- 
sion — fresh — deep — clear cut. More than a thousand 
motion picture theatres are now showing THE 
MARCH OF TIME on the screen. Millions of people 

have thrilled to this new kind of pictorial journal 
ism . . . The public and critics alike have been quick 
to recognize in this "newsmagazine of the screen" 
a mark of distinction for theatres from coast to 
coast. Second release — March 8th. 

Released by FIRST DIVISION— Harry H. Thomas, Pres., Radio City, N. Y. 



RCA 4 Million 
'34 Net Compares 
JVith 1 933 Loss 

The annual report of the Radio Corpora- 
tion of America, made public on Wednesday, 
shows net profit for the year 1934 of $4,249,- 
263, compared with a net loss for 1933 of 
$582,094. The report, for the first time in 
the history of the company, makes a de- 
tailed analysis of the television situation in 
this country, noting progress made and the 
obstacles in the way of practical application 
of the new science to every-day use. 

Gross Income, $78,756,993. 

Gross income of the corporation from all 
sources in 1934 amounted to $78,756,993 com- 
pared with $62,333,496 for 1933, an increase of 
26.3 per cent. Cost of operations, including the 
cost of goods manufactured and sold, the cost 
of operating radiotelegraph and broadcasting 
services, advertising and selling expense, re- 
search and development, and administration to- 
taled $69,266,538. Interest, depreciation, amor- 
tization of patents and good will, and federal 
income taxes amounted to |5, 241, 192. 

The net current assets of the corporation in- 
creased $5,633,155 during the year, their ratio 
to current liabilities being 5.9 to 1 on Decem- 
ber 31, 1934, compared with a ratio of 5.2 to 
1 at the end of 1933. 

The requirements of increased current busi- 
ness are reflected in an increase of $2,096,631 in 
inventories. The total inventories of $8,699,967 
represent current merchandise valued at the 
lower of cost or market. The Radio Corpora- 
tion has no bank indebtedness. It has financed 
all its activities in the year under review in 
the report without borrowing. 

"In the opinion of your board of directors," 
states the report, signed by General James G. 
Harbord, chairman of the board, and by David 
Sarnoff, president of RCA, "the substantial in- 
crease in your corporation's earnings for 1934 
permitted payment of dividend arrears on the 
senior security, the 'A' preferred stock of the 
corporation. At the regular meeting on Janu- 
ary 18, 1935, your directors voted to pay all 
dividend arrears on this class of stock." 

The total dividend paid on February 19, 1935, 
in clearing up arrears on the "A" preferred 
stock was $4,519,610. 

RKO, the report states, has made marked 
progress during the year, establishing new high 
levels in entertainment and artistic interest by 
the production of such films as "The Little Min- 
ister," "Anne of Green Gables" and "Flying 
Down to Rio." 

Television No Threat to Films 

Standing out in the RCA report are the fol- 
lowing points on television and its progress : 

Results obtained by RCA in laboratory ex- 
periments are equal or better than those abroad. 

Problems here are vastly greater because of 
our country's size. The report implies the 
problems will ultimately be solved. 

When television comes it will not supersede 
sound broadcasting. 

Television service on a nation-wide basis, 
especially in the United States, is impractical 
in the present state of the art. 

The next step should be a field demonstra- 
tion of the practical service range of television, 
and RCA is "diligently exploring the possibili- 
ties" of such a demonstration. 

"Granting that the day mz.y come when we 
can develop millions of 'home theatres' through 
television," Mr. Sarnoff said, "public theatres 
will continue to operate because people will go 
to them in response to the instinct for group 
emotions and to see artists in the flesh. These 
are the human demands which television in the 
home cannot satisfy." 


Lupton Wilkinson 
Succeeds Lewis 

Jack Lewis, assistant to Joseph L Breen, 
in the Hollywood office of the Motion Pic- 
ture Producers and Distributors of America, 
in charge of the bureau of information, re- 
signed last weekend. With the office for 
three years, Mr. Lewis plans a vacation be- 
fore returning to Hollywood. 

Lupton Wilkmson has been named as suc- 
cessor to Mr. Lewis. 

U.S. Sues RCA 
On Foreign Deals 

An amended petition to the United States 
government's anti-trust action against the 
Radio Corporation of America wherein the 
government will seek to prove that RCA has 
maintained "a virtual monopoly" in trans- 
mission of radio messages in foreign coun- 
tries, has been filed in the United States 
district court at Wilmington, Del., where 
the trial will be held before Judge John P. 
Nields probably in June. 

The attorney general's office in Wash- 
ington filed the petition askhig that the court 
either cancel RCA foreign radio transmis- 
sion contracts or declare that the foreign 
contracting parties can ignore the terms of 
the contracts. Among the foreign countries 
to be brought into the picture are France, 
China, Switzerland, Czechoslovakia and the 
the Netherlands. 

The government several years ago insti- 
tuted the noted anti-trust suit against RCA 
and other large radio and communication 
firms. It was to have been one of the great- 
est anti-trust cases in the business history 
of the country, but in the eleventh hour, in 
November of 1932, matters were settled out 
of court and a decree entered and signed by 
Judge Nields, consented to by the parties 
involved. There was left open for future set- 
tlement the question of contracts RCA had 
with foreign countries and foreign commu- 
nication companies. RCA has not been dili- 
gent, the government now charges, in seek- 
ing to secure modification of those traffic 

The government also alleges that soon 
after such a contract was made between 
RCA and the government of China, the 
Mackay Radio and Telegraph Company, a 
competitor of RCA, negotiated with China 
for the establishment of a Mackay radio cir- 
cuit in China. On April 8, 1933, China noti- 
fied RCA that the Mackay contract had been 
made, the government's bill states. Arbi- 
tration is now in progress between RCA 
and the Chinese government, RCA contend- 
ing that China can not allow messages to be 
sent over the Mackay circuit. In France 
a similar situation arose. 

AMPA Dinner to 
Have "No Speeches" 

The New York Associated Motion Pic- 
ture Advertisers' Naked Truth dinner, an- 
nual affair scheduled for the Hotel Astor 
April 27, will be free of speeches. Stage, 
radio and screen talent is on the program. 

Marcus in Washington 

Eugene Marcus, counsel for Hollywood 
actors, is in Washington this week con- 
ferring with Sol A. Rosenblatt, NRA com- 
pliance director, on behalf of extras. 

March 2, 1935 

Nye Is Obtaining 
Exhibitor Opinion 
For Fight on Code 

Exhibitor reaction to operation of the mo- 
tion picture code, to be used as ammunition 
in the ever-widening debate in the Senate 
over NRA continuance, is being gathered by 
Senator Nye of North Dakota, one of the 
foremost critics of recovery legislation. 
Revelation of Senator Nye's intent came 
this week following President Roosevelt's 
message to Congress asking extension of the 
NRA for two years. 

The President asked that powers be guar- 
anteed to impose minimum standards of 
competition, labor relations, wages and hours 
on recalcitrant industries ; that government 
supervision of natural resource industries 
be assured to eliminate waste, control output 
and prevent ruinous price-cutting; elimina- 
tion of jail sentences for code violations ; 
that small businesses be given added pro- 
tection and anti-trust laws be more ade- 
quately enforced. 

The day after Mr. Roosevelt's message 
had been read to Congress W. D. Fulton, 
Kansas City exhibitor, received a wire from 
Senator Nye requesting information con- 
cerning alleged abuses existing under the 
motion picture code. In reply, Mr. Fulton 
said that unless the code is drastically re- 
vised it will "eventually strangle the small 
theatre man." 

The purpose of Senator Nye's inquiry was 
indicated by the introduction of the Nye- 
McCarran resolution in the Senate last week 
calling for a thorough investigation of the 
NRA and the operation of industry under 
codes. Because his telegram to Mr. Fulton 
makes no mention of the film code speci- 
fically, it is believed Senator Nye may be 
assembling similar data from other indus- 

W. D. Fulton is a leading independent 
exhibitor in Kansas City, operating five 
suburban theatres. He had previously been 
in communication with Senator Nye concern- 
ing the operations of the film code. In his 
reply to Senator Nye, Mr. Fulton cited 
specific instances in his own theatre opera- 
tion, and concluded by saying that Kansas 
City has no clearance and zoning schedule, 
but that Fox Midwest "wrote just what it 
pleased in film contracts and we take it or 
close up." 

Impartial representatives of local boards 
will be made chairmen, if a recommendation 
of the Code Authority is approved by its 
legal committee and Compliance Director 
Sol A. Rosenblatt. The suggestion has been 
before the legal committee, and a decision 
was expected this week. 

Einfeld Stunt Boosts 
Vallee Film at Strand 

For the exploitation of "Sweet Music," 
Warner film starring Rudy Vallee, S. 
Charles Einfeld, director of advertising and 
publicity, issued, through Station WNEW 
an invitation to 300 "radio critics" to at- 
tend an early showing of the film at the 
Broadway Strand, and broadcast their 
opinions of the picture over lobby micro- 

March 2 , 1935 



Supreme Court Recesses 
Without Tri-Ergon Verdict 

The United States Supreme Court re- 
cessed last week without having rendered 
a decision on the two Paramount appeals 
from the patents decisions favoring the 
American Tri-Ergon Company, controlled 
by William Fox. No decision is possible 
until March 4, when the court resumes ses- 

RCA is understood negotiating with Del- 
mar Whitson in connection with a new 
photo-electric cell, said to be suitable for 
sound reproduction, while Warner is re- 
ported interested in a similar device of Al- 
bert Radtke. American Tri-Ergon is also 
interested, since such a device entered into 
hearings on the flywheel patent infringe- 
ment action now under Supreme Court re- 
view. A Patent Office hearing will be held 
shortly to determine the award of the 
photo-electric cell patent. 

Screen Producing Great 
Directors, Says Lawrance 

The screen, because of its technical re- 
quirements, has not developed any great 
actors and probably will not ; but it is pro- 
ducing great directors, and these rather 
than the players must be listed as the great 
artists of the screen, the Women's City 
Club in Kansas City was told last week 
by Lowell Lawrance, motion picture and 
drama editor of the Kansas City Journal- 

"Look for the name of the director when 
selecting films," said Mr. Lawrance. He 
spoke on "How To Have More Fun at 
the Movies." To appreciate the motion pic- 
ture, Mr. Lawrance said, one must know 
something of the technical phases. He said a 
reviewer cannot be absolutely fair unless he 
rates films according to entertainment value 
and classifies them as to audience suita- 

Briggs Joins MGM 

William H. Briggs, for many years con- 
nected with Harper and Brothers, publish- 
ers, has joined MGM's scenario department 
in the East as' literary advisor. He will 
continue his association with Harper. 

Liberty Closes Deal 

Budd Rogers, general sales manager of 
Liberty Pictures, has closed with Elliott 
Film Company, Minneapolis, for distribu- 
tion of the Liberty product in Minneapolis, 
North and South Dakota. Twelve features 
are included. 

Majestic Names Young 

Leo Young, formerly of Boston, has been 
assigned to handle publicity and advertis- 
ing on Mascot's "Little Men," under the 
supervision of Herman Gluckman, president 
of Majestic Distributing Corporation. 

Columbia Promotes Evidon 

Melvin Evidon, Minneapolis Columbia 
salesman, has been named Des Moines 
branch manager, succeeding Joe Levy, re- 

Kollar Detroit Censor 

Joseph M. Kollar has been promoted by 
the Detroit police commissioner to succeed 
Royal A. Baker, local film censor. Mr. 
Kollar has been the assistant of Mr. Baker. 

Griffith Takes Two; 
Circuit Totals 103 

The Griffith circuit, opera.ting in New 
Mexico, Texas and Oklahoma, has acquired 
the Dunkin and American theatres in Gush- 
ing, Okla., bringing the total holdings to 
103. The two houses were obtained from 
Hiram Dunkin. R. E. Griffith, secretary 
and treasurer of the circuit, was in New 
York this week with H. R. Falls, buyer 
and booker, on an RKO deal. 

King to Direct Three 

Fox has signed Henry King to a new con- 
tract, under which he will direct three pic- 
tures during the year. 

Gaterri Will Handle 
Amity Films in Florida 

Frank Gaterri, Tampa independent ex- 
change operator, has been named Florida 
representative of Amity Pictures by W. L. 
Parker, manager of the Amity exchange at 
Charlotte and Atlanta. 

Big Feature Rights Corporation, headed 
by Lee Goldberg, will distribute Spectrum 
Pictures' "Frontier Days," in the Indianapo- 
lis' and Louisville territories. Other book- 
ings have been arranged on the same picture. 

First Division in Deal 

First Division has closed a deal to dis- 
tribute several of the productions of Asso- 
ciated Talking Pictures of London in this 

door-to-door pick-up and delivery service in all principal cities 
and towns. There is no extra charge for this extra service. 
• A telephone call brings Rail'way Express to the shipper's 
door for pick-up and Rail'way Express delivers to the door of 
the consignee. • Take all the guesswork out of your shipping 
problems by specifying Railway Express. • Phone the nearest 
Railway Express agent for service and information on rates. 

TTie best there is in transportation 






March 2, 1935 


The total of theatre receipts for the calendar week ended February 23, 1.935, 
from 108 theatres in 18 major cities of the country, reached $1,059,980, a decrease 
of $70,930 from the total for the preceding calendar week, ended February 16, when 
108 theatres in 18 major cities aggregated $1,130,910. 

(.Copyright, 1935 : Reproduction of material from this department zvithoiit credit to Motion Picture Herald expressly forbidden) 



Boston 2,900 

Fenway 1,800 


Allen 3,300 

Circle 1,875 

Hippodrome 3,800 

RKO Palace .... 3,100 

State 3,400 

Stillman 1,900 


Aladdin 1,500 

Denham 1,500 

Denver 2,500 

Orpheum 2,600 

Paramount 2,000 

30c -50c 



Loew's State... 

. 3,700 


Metropolitan . . . 

. 4,350 


. 1,800 








Great Lakes . . . 

. 3,000 



25c -40c 





25c- 50c 













United Artists.. 

. 1,700 


20c -30c 
30c -60c 
30c -42c 



Chinese 2,500 30c-65c 

Pantages 3,000 25c-40c 

W. B. Hollywood 3,000 25c-65c 

Current Week 

Picture Gross 

"Strange Wives" (Univ.) 11,000 

"Woman in Red" (F.N.) and.... 5,000 
"Charlie Chan in Paris" (Fox) 

"Murder on a Honeymoon" 25,000 


"Biography of a Bachelor Girl".. 12,000 

(MGM) and "Mills of the Gods" (Col.) 

"DevU Dogs of the Air" (W.B.).. 28,000 

"Woman in Red" (F. N.) and.... 6,500 
"Charlie Chan in Paris" (Fox) 

"One More Spring" (Fox) 14,800 

"Charlie Chan in Paris" (Fox) and 6,000 
"Red Hot Tires" (W. B.) 

"The Night Is Young" (MGM) and 6,900 
"Society Doctor" (MGM) (6 days) 

"Devil Dogs of the Air" (W.B.).. 8,000 

"The Good Fairy" (Univ.) 7,300 

"The County Chariman" (Fox).. 

"Wings in the Dark" (Para.) 

"Baboona" (Fox) 

"Charlie Chan in Paris" (Fox).. 


'The Mystery of Edwin Drood".. 

"Devil Dogs of the Air" (W. B.) 12,000 

(8 days-2nd week) 
"Strange Wives" (Univ.) 13,000 

'David Copperfield" (MGM) 20,000 

(2nd week) 

"Under Pressure" (Fox) 3,400 

"Gambling" (Fox) 5,6(X) 

"Sweet Music" (W. B.); 7,500 

. . 8,200 

.. 10,500 

'One More Spring" (Fox). 

(30c-42c) (8 days) 
"The Gilded Lily" (Para.). 

"The President Vanishes" (Para.) 3,800 
(20c -40c) 

"Under Pressure" (Fox) 2,000 

"Wings in the Dark" (Para.).... 5,500 
"One More Spring" (Fox) 5,&00 

'Sequoia" (MGM) 

"David Copperfield" (MGM).. 

(3 days) 
"Red Hot Tires" (F.N.) and. 
"Maybe It's Love" (F. N.) 

(4 days) 


"David Copperfield" (MGM) 11,500 

(2nd week) 

"The Good Fairv'' 

'Devil Dogs of the Air" (W.B.) 
(2nd week) 

(Univ.) 7,800 


Previous Week 

Picture Gross 

"Pve Been Around" (Univ.) 11.000 

"The Right to Live" (W.B.) and 3,600 
"Red Hot Tires" (W. B.) 

"White Lies" (Col.) 28,000 


"Clive of India" (U. A.) 9,000 

"Rumba" (Para.) 


"The Right to Live" (W.B.) and 4,400 
"Red Hot Tires" (W. B.) 

"Rumba" (Para.) 15,100 

High and Low Gross 

(Tabulation coivers period frora January, 1934.) 
(Dates are 1934 unless otherwise specified.) 

High 12-29 "West of Pecos" 23,000 

Low 2-2-35 "One Exciting Adventure".. 8,500 
High 1-6 "Lady Killer" ( 

and "Girl Without a Room" J 12,000 
Low 2-2-35 "Maybe It's Love" ) 

and "Murder in the Clouds" f 3,300 

High 2-16-35 "White Lies" 28,000 

Low 1-19-35 "Evergreen" 7,000 

High 4-7 "Riptide" 22,000 

Low 2-16-35 "Clive of India" 9,000 

High 1-27 "All of Me" 39,000 

Low 1-19-35 "The County Chairman" 21,000 

High 1-6 "Lady Killer" ) 

and "Girl Without a Room" ] 12,000 
Low 2-2-35 "Maybe It's Love" and 1 

"Murder in the Clouds" J 4,200 

"Under Pressure" (Fox) and 5,200 

"Home on the Range" (Para.) 

"Sequoia" (MGM) 7,100 

"David Copperfield" (MGM) 

(2nd week) 
"The Man Who Reclaimed His. 

Head" (Univ.) and 
"I've Been Around" (Univ.) 

"Bordertown" (W. B.) 

(2nd week) 
"The Gilded Lily" (Para.) 

(2nd week) 
"The Iron Duke" (GB Pictures). 

"Hell in the Heavens" (Fox)... 

"The Good Fairy" (Univ.) 

'Devil Dogs of the Air" (W. B.). 

(1st week) 
'Cheating Cheaters" (Univ.) 

"David Copperfield" (MGM) 
(1st week) 





High 1-6 
Low 12-29 
High 4-21 

Low 12-29 

High 9-29 
Low 12-22 

High 5-19 
Low 7-28 
High 3-10 

Low 11-17 

"Design for Living" 

"Music in the Air" 

"The Lost Patrol" and 
"Three on a Honeymoon" 
"I Am a Thief" and 
"Side Streets" 

"Belle of the Nineties" 

"Gentlemen Are Born" and 

"Marie Galante" 

"The House of Rothschild" 

"Here Comes the Navy 

"It Happened One Night" 
and "Before Midnight" 
"Jane Eyre" and 
"Young and Beautiful" 







High 9-8 "The Cat's Paw" 16,000 

Low 11-24 "The Captain Hates the Sea" 5,000 

High 8-11 "She Loves Me Not" 66,000 

Low 5-26 "Thirty Day Princess" 19,000 

High 2-2i-iS "Baboona" 8,500 

Low 10-27 "Kansas City Princess" 4,000 

High 1-5-35 "Big Hearted Herbert".... 25,000 

Low 6-16 "Registered Nurse 12,000 

High 6-23 "Cockeyed Cavaliers" 30,000 

Low 12-1 "Kentucky Kernels" 8,000 

High 1-5-35 "Forsaking All Others".... 27,000 

Low 8-18 "Paris Interlude" 6,000 

High 9-8 "The Most Precious Thing in 

Life" 19,000 

Low 7-7 "Sing and Like It" 11,000 

High 5-5 "House of Rothschild" 30,000 

Low 4-28 "Looking for Trouble" 10,000 

High 10-27 "Six-Day Bike Rider" 7,000 

Low 12-15 "Silver Streak" 1,400 

"Carnival" (CoL) 

(6 days) 

"Mills of the Gods" (Col.) 5,400 

"Devil Dogs of the Air" (W. B.) 17,000 High 4-7 "Wonder Bar" 20,000 

' " "" ' ' " ■ " 2,900 

"Romance in Manhattan" (Radio) 18,500 
(6 days) 

"Clive of India" (U. A.) 12,000 

"David Copperfield" (MGM) 6,500 

(2nd week) 

"The White Cockatoo" (W. B.).. 2,000 

"The Gilded Lily" (Para.) 6,000 

"Clive of India" (U. A.) 7,500 

"Devil Dogs of the Air" (W. B.) 7,000 

"The First World War" (Fox).. 750 
(3 days) 

"David Copperfield" (MGM) 2,000 

(4 days) 

"David Copperfield" (MGM) 12,000 

(6 days-lst week) 

"Mystery of Edwin Drood" (Univ.) 2,900 
(5 days) 

"Devil Dogs of the Air" (W.B.).. 9,800 

(5 days-lst week) 

Low 3-17 "Journal of a Crime'' 

High 11-10 "Desirable" 28,000 

Low 5-19 "Where Sinners Meet" 4,000 

High 1-12-35 '-'Forsaking All Others".. 28,000 

Low 12-29 "Private Life of Don Juan".. 3,500 

High 9-15 "Cniained" 10,000 

Low 1-12-35 "Our Daily Bread" 2,000 

High 5-5 "House of Rothschild" 9,000 

Low 8-11 "I Give My Love'' 1,200 

High 9-29 "Belle of the Nineties" 16,500 

Low 4-7 "She Made Her Bed" 800 

High 1-13 "Roman Scandals" 17,500 

Low 9-29 "British Agent" 4,000 

High 2-17 "Hi Nellie"' 


Low 12-29 "Hat, Coat and Glove" 1,000 

High 1-13 "Dinner at Eight" 
Low 6-9 "Uncertain Lady". 


High 4-14 "House of Rothschild" 25,171 

Low 12-29 "Music in the Air" 

High 12-8 "Imitation of Life"... 
Low 3-3 "Fugitive Lovers" and 

"The Poor Rich" 

High 9-8 "Dames" 

Low 12-29 "Sweet Adeline" 









65 Buchanan Street 

Glasgow, c.l. January 3, 1935 

Motion Picture Herald 
1790 Broadway, New York. 


I would be very much obliged if you 
would ask your shipping department to send 
me and debit to my account the latest edition 
of Motion Picture Almanac, with instructions 
to send it yearly until further notice. 

I should like to congratulate you on 
your interesting, authoritative and really 
excellent journal of the world's movie events. 
Always I find it very useful and informative, 
and often turn the news in it to account, as 
you may see even in my article of today's date. 

Yours sincerely 


1935-36 Edition Now in Preparation 



March 2, 1935 



Current Week 

Previous Week 


Gross Picture 


Apollo 1,100 25c-40c 

Circle 2,800 25c-40c 

Indiana 3,133 25c-40c 

Lyric 2,000 25c-40c 

Palace 3,000 25c-40c 

Kansas City 

Mainstreet 3,049 15c-40c 

Midland 4,000 lSc-40c 

Newman 1,800 2Sc-40c 

Tower 2,200 25c 

Uptown 2,000 25c-40c 

Los Angeles 

Filmarte 800 40c-55c 

Four Star 900 30c-55c 

Loew's State 2,416 30c-55c 

Paramount 3,596 30c-55c 

RKO 2,700 25c -65c 

United Artists... 2,100 2Sc-55c 

W. B. Downtown 3,400 25c-40c 


Century 1,650 25c-40c 

Lyric 1,238 20c-25c 

Palace 900 15c-25c 

RKO Orpheum... 2.900 25c-40c 

State 2,300 25c-40c 

Time 300 20c-25c 

World 400 25c ■75c 


Capitol 2,547 25c-60c 

His Majesty's.... 3,115 30c-60c 

Loew's 3,115 30c-75c 

Princess 2,272 30c-65c 

New York 

Astor 1,012 25c-75c 

Capitol 4,700 35c-$1.65 

Mayfair 2,300 35c-65c 

Palace 2,500 25c-75c 

Paramount 3,700 35c-99c 

Rialto 2,200 25c-65c 

Rivoli 2,200 40c -99c 

RKO Music Hall 5,945 35c-$1.65 

Roxy 6,200 25c -55c 

Strand 3,000 25c- 55c 

"One More Spring" (Fox) 7,500 

"The Best Man Wins" (Col.) and 2,500 
"The Gilded Lily" (Para.) 

"The Good Fairy" (Univ.) 6,000 

"Devil Dogs of the Air" (W.B.).. 10,080 

"Sequoia" (MGM) 3,500 

"The Scarlet Pimpernel'' (U.A.).. 5.000 

"Sequoia" (MGM) 6,900 

"Sweet Music" (W. B.) 6,500 

"The Good Fairy" (Univ.) 10,500 

"Evergreen" (GB Pictures) 5,600 

"The Blue Light" (Dtj World) 1,900 

(6 days) 

"Tlie Iron Duke" (GB Pictures).. 5,000 
(6 days) 

"David Copperfield" (MGM) 12,500 

(2nd week) 

"Wings in the Dark" (Para.) 17,000 

"Devil Dogs of the Air" (W. B.) 8,400 

(2nd week) 

"The Winning Ticket" (MGM) and 4,200 
"Lottery Lover'' (Fox) (6 days) 

"Woman in Red" (F. N.) and.... 6,000 
"Lightning Strikes Twice" (Radio) 

■Wings in the Dark" (Para.).... 5,000 

'The White Cockatoo" (W. B.) . . 1,300 

'I've Been Around'' (Univ.) 2,000 

'The Good Fairy" (Univ.) 6,000 

'Kid Millions" (U. A.) 6,000 

'The First World War" (Fox).. 1,500 

'Evergreen" (GB Pictures) 3,000 

(2nd week) 

'Biography of A Bachelor Girl".. 10,000 
(MGM) and "Maybe It's Love" (F.N.) 

'The Shepherd of the Seven Hills" 5,000 

'Wings in the Dark" (Para.) and 8,500 
'One Hour Late" (Para.) (30c-6Oc) 

'Broadway Bill" (Col.) and 6,500 

"Among the Missing" (Col.) 
(2nd week) 

"Little Men" (Mascot) 6,000 

"David Copperfield" (MGM) 35,000 

(5th week) 

"A Notorious Gentleman" (Univ.) 8,000 

"Wings in the Dark" (Para.) 10,000 

"The Gilded Lily" (Para.) 28,000 

(2nd week) 

"Carnival" (Col.) 12,000 

"The Right to Live" (W. B.).... 15,000 

"The Scarlet Pimpernel" (U. A.).. 72,680 

(2nd week) 

"Behold My Wife" (Para.) 32,000 

"Devil Dogs of the Air" (W.B.).. 22,000 
(2nd week) 

"Charlie Chan in Paris" (Fox). 



"Mystery of Edwin Drood" (Univ.) 3,000 

"Rumba" (Para.) 6,500 

"When A Man's A Man" (Fox).. 8,000 

"Oive of India" (U. A.) 4,500 

"Society Doctor" (MGM) 4,800 

"Clive of India" (U. A.) 9,000 

"Rumba" (Para.) 7,500 

"A Notorious Gentleman" (Univ.) 7,900 

"The County Chairman" (Fox).... 3,400 
(3rd week) 

'Man of Aran" (GB Pictures).... 2,500 
(3rd week) 

"Baboona" (Fox) 2,200 

(2nd week) 

"David Copperfield" (MGM) 13,000 

(6 days-lst week) 

"The Gilded Lily" (Para.) 19,000 

"Devil Dogs of the Air" (W. B.) 12,300 

(5 days-lst week) 

"Under Pressure" (Fox) and 4,500 

"The Night Is Young" (MGM) 

(6 days) 

"The Right to Live" (W. B.) and 6,800 
"Behind the Evidence" (Col.) 

"David Copperfield" (MGM) 5,000 

(3rd week) 

"The Secret Bride" (W. B.) 1,800 

"Strange Wives" (Univ.) 2,900 

"Babbitt" (F. N.) 6,500 

"The County Chairman" (Fox).... 6,000 

"The Best Man Wins" (Col.).... 1,500 

"Evergreen" (GB Pictures) 3,500 

(1st week) 

"Lives of A Bengal Lancer" 14,000 

(Para.) (2nd week) 

"Band Plays On" (MGM) 13,000 

"Broadway Bill" (Col.) and 8,500 

"Among the Missing" (Col.) 

(1st week) 

"The Winning Ticket" (MGM).... 5,900 

"David Copperfield" (MGM) 44,500 

(4th week) 

"Maybe It's Love" (W. B.) 5,100 

"Bordertown" (W. B.) 9,000 

"The Gilded Lily" (Para.) 32,000 

(1st week) 

"Lives of a Bengal Lancer" 17,000 

(Para.) (2nd week) 

"dive of India" (U. A.) 15,200 

(4th week-8 days) 

"The Scarlet Pimpernel" (U.A.) 95,000 

"Jack Ahoy" (GB Pictures) 24,000 

"Devil Dogs of the Air" (W. B.) 19,360 
(1st week) 

High and Low Gross 

(Tabulation covers period from January, 1934.) 
(Dates are 1934 unless otherwise specified.) 

High 2-23-35 "One More Spring" 7,500 

Low 2-9-35 "Baboona" 2,000 

High 12-15 "Lady By Choice" 8,500 

Low 1-19-35 "The President Vanishes" ) 

and "Enter Madame" ] 2,000 

High 10-13 "One Night of Love" 10,000 

Low 1-12-35 "Little Women" 1,500 

High 12-22 "Murder in the Clouds".... 11,000 
Low 7-28 "Half a Sinner" and ) 

"Embarrassing Moments" j 2,000 

High 2-3 "Sons of the Desert" 12,500 

Low 12-12 "The Gay Bride" 2,750 

High 6-23 "Glamour" 23,000 

Low 1-12-35 "I Sell Anything" 2,000 

High 4-7 "Riptide" 21,400 

Low 12-22 "Private Life of Don Juan" 4,000 

High 9-29 "Belle of the Nineties" 14,000 

Low 8-25 "Ladies Should Listen" and ) 

"Call It Luck" 1 3,600 

High 1-12-35 "Broadway Bill" 14,000 

Low 5-5 "Let's Fall in Love" 4,000 

High 10-27 "Judge Priest" 9,200 

Low 1-27 "Good Bye Again" 1,700 

High 4-14 "Moon Over Morocco" 7,600 

Low 6-30 "Island of Doom" 160 

High 3-3 "Devil Tiger" 7,800 

Low 12-15 "Have a Heart" 2,500 

High 4-7 "Riptide" 28,500 

Low 12-29 "Music in the Air" 4,206 

High 9-1 "Now and Forever" 29,998 

Low 12-22 "One Hour Late" 12,500 

High 3-31 "Little Women" 15,500 

Low 1-27 "Let's Fall in Love" 1,800 

High 1-20 "I'm No Angel" 13,000 

Low 5-12 "Sorrell and Son" 2,500 

High 9-8 "Dames" 20,000 

Low 12-29 "White Lies" and ] 

"The Last Wilderness" j 4,900 

High 10-20 "Barretts of Wimpole 

Street" 6,500 

Low 9-29 "The Cat's Paw" 2,500 

High 11-3 "Our Daily Bread" 2,000 

Low 1-27 "Jimmy and Sally" 50O 

High 1-5-35 "Romance in the Rain".... 3,000 

Low 2-23-35 "I've Been Around" 2,000 

High 12-1 "One Night of Love" 6,800 

Low 8-25 "The Lady is Willing" 2,700 

High 8-18 "She Loves Me Not" 7,000 

Low 7-28 "Here Comes the Navy" 5,000 

High 10-20 "Girl of the Limberlost". . . . 3,500 

Low 12-8 "Cimarron" 1,000 

High 4-14 "Private Life of Henry VIH" 4,0C0 

Low 7-7 "Sweden. Land of the Vikings" 2,000 

High 2-24 "Queen Christina" 13,500 

Low 12-22 "Great Expectations" and ) 

"Wake Up and Dream" j 3,500 
High 2-23-35 "Shepherd of the Seven Hills" 5,000 

Low 6-2 "All Quiet on the Western 

Front" 3,000 

High 12-8 "Six Day Bike Rider" 14,500 

Low 7-21 "Fog Over Frisco" and 1 

"Affairs of a Gentleman" ( 4,500 
High 1-5-35 "Kid Millions" and 1 

"Fugitive Lady" f 10,500 
Low 8-4 "House of Rothschild" and ) 

"Most Precious Thing in Life" f 4,500 

High 3-31 "House of Rothschild" 23,600 

Low 2-23-35 "Little Men" 6,000 

High 10-6 "Barretts of Wimpole Street" 65,860 

Low 12-29 "The Band Plays On" 4,500 

High 1-27 "Sixteen Fathoms Deep" 15,300 

Low 6-2 "Unknown Soldier Speaks" 1,250 

High 7-21 "Of Human Bondage" 16,200 

Low 12-22 "Babbitt" 6,500 

High 8-25 "Cleopatra" 72,000 

Low 8-11 "Elmer and Elsie" 10,500 

High 4-7 "The Lost Patrol" 32,800 

Low 5-12 "Success at Any Price" 7,700 

High 11-17 "Kid Millions" 51,000 

Low 2-23-35 "The Right to Live' IS.m 

High 1-5-35 "The Little Minister" 110,000 

Low 1-19-35 "Evergreen" 52.000 

High 12-1 "Imitation of Life" 44,000 

Low 6-30 "Affairs of a Gentleman" 13,700 

High 3-10 "Wonder Bar" 43,863 

Low 1-20 "Easy to Love" 9.271 

March 2, 1935 





Current Week 

Previous Week 


Gross Picture 


Oklahoma City 

Capitol 1,200 10c-41c 

Liberty 1,500 10c-36c 

Midwest 1,500 10c-S6c 

Warner 1,900 lCc-56c 


Brandeis 1,200 25c-40c 

Orpheura 3,000 25c-40c 

Paramount 2,500 25c-55c 


Aldine 1,200 3Sc-55c 

Arcadia 600 25c-40c 

Boyd 2,400 35c -55c 

Earle 2,000 25c-S5c 

Fox 3,000 40c-65c 

Karlton 1,000 25c-40c 

Keith's 2,000 30c-50c 

Roxy Mastbaum. 4,800 40c-65c 

Stanley 3,700 35c -55c 

Stanton 1,700 30c-50c 

Portland, Ore. 

Broadway 1,912 25c-40c 

Mayfair 1,700 25c-40c 

Oriental 2,040 lSc-25c 

Orpheum 1,700 25c-40c 

Paramount 3,008 25c-40c 

"Woman in Red" (F. N.) 2,800 

"Red Hot Tires'' (W. B.) 2,500 

(4 days) 

'Secret of the Chateau" (Univ.).. 800 
(3 days) 

"aive of India" (U. A.) 4,001 

"The Little Minister" (Radio).... 3,000 

•Carnival" (Col.) and 4,500 

"Gentlemen Are Born" (F.N.) (8 days) 

"Bordertown" (W. B.) and '. 7,400 

"Evergreen" (GB Pictures) 

'The Band Plays On" (MGM).. 7,600 
(3 days) 

"The Iron Duke" (GB Pictures).. 2,200 
and "I've Been Around" (Univ.) 
(4 days) 2Sc-35c 

■The Scarlet Pimpernel" (U.A.).. 9,500 

(6 days-2nd week) 

•The Gilded Lily" (Para.) 2,900 

(25c-50c-8 days) 

■The Night Is Young" (MGM).. 6,500 

(5 days) 

■The Winning Ticket" (MGM).. 14,500 

(6 days) 

■One More Spring" (Fox) 18,500 

•Enchanted April" (Radio) 3,000 

(6 days) 

•David Copperfield" (MGM) 4,300 

(6 days) 

•The Good Fairy" (Univ.) 27,000 

'•Devil Dogs of the Air" (W. B.) 14,000 
(8 days) 

■Mills of the Gods" (Col.) 2.800 

(4 days) 

"David Copperfield" (MGM) 5,000 

(2nd week ) 

■•Broadway Bill" (Col.) 3,900 

•■Little Minister" (Radio) 2,500 

■•Sweet Music" (W. B.) 6,000 

"The Whole Town's Talking" (Col.) 9,700 

United Artists... 945 25c-40c "After Office Hours" (MGM)... 


San Francisco 

Fox 4,600 15c -40c 

Golden Gate 2,800 25c-40c 

Orpheum 3,000 15c-40c 

Paramount 2,670 25c-40c 

St. Francis 1,400 15c-55c 

United Artists... 1,200 15c-55c 

Warfield 2,700 25c-65c 


Blue Mouse 950 10c-25c 

Fifth Avenue ... 2,500 25c-55c 

Liberty 1,800 15c-SQc 

Music Box 950 25c -55c 

Music Hall 2,275 25c-55c 

Orpheum 2,50Q 25c-50c 

Paramount 3,050 25c-35c 

■The Winning Ticket" (MGM) and 7,500 
"School for Girls" (Liberty) 

"Captain Hurricane" (Radio) 12, SCO 

"The Good Fairy" (Univ.) and.. 10,500 
"Mystery Man" (Mono.) 

"Wings in the Dark" (Para.) and 10,500 
"The Band Plays On" (MGM) 

"Devil Dogs of the Air'' (W.B.) 8,500 

"Clive of India" (U. A.) 7,500 

(2nd week) 

"One More Spring" (Fox) 21,500 

"Devil Dogs of the Air" (W.B.).. 3,650 

"David Copperfield" (MGM) 8,600 

"Broadway Bill" (Col.) 6,800 

(3rd week) 

"Qive of India" (U. A.) 3,300 

(2nd week) 

"The Good Fairy" (Univ.) 5,900 

"Mystery of Edwin Drood" (Univ.) 5,30C 

"Charlie Chan in Paris" (Fox) and 5,900 
"Baboona" (Fox) 

"Kentucky Kernels" (Radio) 1,900 

"His Greatest Gamble" (Radio).. 2,300 
(4 days) 

"I've Been Around" (Univ.) 700 

(3 days) 

"David Copperfield" (MGM) 8,000 

"Devil Dogs of the Air" ( W. B.) 4,000 

"Babbitt" (F. N.) and 3,000 

"Murder in the Clouds" (F. N.) 

"The Mighty Barnum" (U.A.) and 9,000 
"The Firebird" (W. B.) 

"The Secret Bride" (W. B.) 13,200 

"The Scarlet Pimpernel" (U. A.) 13,000 

(6 days-lst week) 

"Enter Madame" (Para.) 1,500 

(5 days) 

"David Copperfield" (MGM) 11,000 

(6 days-3rd week) 

"Carnival" (Col.) 15,500 

"My Heart Is Calling" 10,000 

(GB Pictures) (5 days) 

"Little Men" (Mascot) 2,900 

(6 days) 

"Clive of India" (U. A.) 3,400 

(6 days) 

"Woman In Red" (F. N.) 40,000 

"Rumba" (Para.) 8,500 

(6 days) 

"Society Doctor" (MGM) 5,000 

(6 days) 

"David Copperfield" (MGM) 6,500 

(1st week) 

"Evergreen" (GB Pictures) and.. 3,000 
"Ejiter Madame" (Para.) 

"Imitation of Life" (Univ.) and.. 1.80O 
"Babbitt" (F. N.) 

"West of the Pecos" (Radio).... 6,000 

"The Little Colonel" (Fox) 9,600 

"Sequoia" (MGM) 4,000 

(2nd week) 

"The Right to Live" (W.B.) 8.000 

"Once to Every Bachelor" (Liberty) 

"Murder On A Honeymoon" 12,000 


"Mystery of Edwin Drood" (Univ.) 5,000 
and "Million Dollar Baby" (Mono.) 

"Rumba" (Para.) and 11,000 

"Under Pressure" (Fox) 

"The Gilded Lily" (Para.) 6,5C0 

"CUve of India" (U. A.) 10,000 

(1st week) 

"Devil Dogs of the Air" (W. B.).. 25,000 

"Million Dollar Baby" (Mono.) and 2,900 

"Notorious Gentleman" (Univ.) 

"The County Chairman" (Fox) 6,800 

"Broadway Bill" (Col.) 7,100 

(2nd week) 

"Clive of India" (U. A.) 3,800 

(1st week) 

"Devil Dogs of the Air" (W. B.) 6,200 

"The Woman in Red" (W. B.).. 5,200 

"Rumba" (Para.) 5,100 

High and Low Gross 

(Tabulation coivers period from January, 1934.) 
(Dates are 1934 unless otherwise speciFied.) 

High 1-6 "Going Hollywood" 4,100 

Low 9-8 "You Belong to Me" 800 

High 8-11 "Great Flirtation" and I 

"I Give My Love" ) 3,700 

Low 10-27 "Crime Without Passion".... 400 

High 12-29 "Bright Eyes" 9,540 

Low 5-26 "Merry Wives of Reno" 2,000 

High 1-5-35 "Forsaking All Others".... 13,009 

Low 12-22 "Limehouse Blues" 2,900 

High 1-12-35 "The Little Minister" 9,100 

Low 2-16-35 "Babbitt" and 1 

"Murder in the Clouds" J 3,000 

High 3-10 "Easy to Love" 17,250 

Low 12-29 "Babes in Toyland" and ) 

"Home on the Range j 5,000 

High 2-16-35 "The Secret Bride" 13,200 

Low 2-24 "Six of a Kind" and i 

"Good Dame" ) 5,250 

High 5-5 "House of Rothschild" 23,000 

Low 6-9 "Sorrell and Son" 4,000 

High 1-6 "Duck Soup" 6,500 

Low 1-27 "Women in His Life" 400 

High 1-6 "Uttle Women" 30,000 

Low 2-23-35 "The Night Is Young".... 6,500 
(5 days) 

High 4-7 "Harold Teen" 40,000 

Low 7-21 "Cockeyed Cavaliers" 11,000 

High 12-29 •'Bright Eyes" 28,500 

Low 7-28 •'She Was a Lady" 7,000 

High 11-3 "One Night of Love" 8,500 

Low 11-24 "Wednesday's Child" 2,200 

High 3-3 "Carolina" 8,000 

Low 1-5-35 "Sweet Adeline" 1,500 

High 1-5-35 "Broadway Bill" 22,000 

Low 12-29 "Behold My Wife" 7,500 

High 3-31 "The Lost Patrol" 9,000 

Low 1-5-35 "Man Who Reclaimed His 

Head" 2,000 

High 4-7 "Wonder Bar" 13,000 

Low 7-14 "The Circus Clown" and ( 

"I Give My Love" j 3,900 

High 11-17 "Lady By Choice" 4,000 

Low 1-19-35 "Behold My Wife" and 1 

"Defense Rests" I 1,600 

High 5-26 "Merry Wives of Reno" 4,800 

Low 10-6 "The Human Side" and I 

"Hat, Coat and Glove" ( 1,500 

High 12-1 "Kentucky Kernels" 8,000 

Low 11-10 "Wednesday's Child" 3,500 

High 3-24 "David Harum" and 1 

"Once to Every Woman ) 12,000 
Low 6-30 "Now I'll Tell" and ( 

"Springtime for Henry" J 4,000 

High 4-28 "House of Rothschild" 9,800 

Low 8-4 "Paris Interlude" 3,700 

High 3-3 "Son of Kong" 14,000 

Low 8-18 "Sin of Nora Moran" and 1 

"Along Came Sally" 4,500 

High 3-3 "It Happened One Night".... 20,500 

Low 7-7 "Cockeyed Cavaliers" 10,200 

High 6-9 "Sing and Like It" 19,500 

Low 6-30 "Affairs of a (gentleman" 1 

and "Orders is Orders" I 5,000 

High 9-29 "Belle of the Nineties" 19,000 

Low 1-20 "Four Girls in a Boat" and I 

"Fugitive Lovers" ( 8,000 

High 1-19-35 "The County Chairman".. 11,000 
Low 4-14 "Registered Nurse" and ) 

"Murder in Trinidad" ( 3,500 

High 1-6 "Roman Scandals" 15,000 

Low 5-26 "No Greater Glory" 4,000 

High 12-29 "Bright Eyes" 29,000 

Low 3-31 "Gambling Lady" 15,500 

High 2-17 "Roman Scandals" 7,500 

Low 7-7 "Tomorrow's Children" 2,550 

High 4-14 "Riptide" 12,750 

Low 3-24 "Fashions of 1934" 3,500 

High 2-16-35 "Broadway Bill" (2d week) 7,100 
Low 10-6 "Jane Eyre" and I 

"King Kelly of U. S. A." f 3,100 

High 4-14 "Spitfire" 6,500 

Low 1-26-35 "Man Who Reclaimed His 

Head" 2.850 

High 5-26 "Wild Cargo" 11,500 

Low 2-2-35 "Enchanted April" (6 days) 3,900 

High 12-1 "Kentucky Kernels" 8,400 

Low 4-21 "Two Alone" and ) 

"I Believed in You" ( 3,750 

High 1-27 "Fugitive Lovers" 8,500 

Low 12-8 "Peck's Bad Boy" and ) 

"Menace" I 3.300 



March 2 , 1935 


Harlingen, Texas 

Dear Herald: 

Gee-me-nently-kraut. Doggone the dog- 
gone luck anyhow. Day before yesterday 
we drove clear down to San Benito to see 
E. F. Brady, who operates the Rivoli and 
Palace theatres, and when we got there his 
cashier at the box office told us that E. F. 
had gone up to Harlingen to play golf. 
When a man picks out the best looking lady 
in town to sell tickets for him and then goes 
away to play golf and leaves her all alone 
and unguarded there is something wrong 
with his gourd. 

Not So With These 

Elmer Gailey at Wayne, Nebraska, used 
to do that except that he always went fishing 
rather than play golf. Bonnie Benfield, at 
Morris, Minnesota, and Andy and Herb An- 
derson, at Detroit Lakes, Minnesota, would 
rather play golf than sit in the box office 
with the best looking lady in town, and 
while F. W. Zimmerman of San Marcus, 
Texas, is a golf hound he won't leave his 
box office even if he knew he could get a 
shrimp cocktail. That's just the way he is 

We have been through San Benito several 
times but have never found E. F.; he has 
ahvays been out billing his show, or some- 
thing. But we are going dotim there some 
day and slip up on him when he isn't look- 
ing, and if he isn't there we are going right 
into the box office and say "We gates, 
Gerte," and if she don't understand what 
we say we will say "Wanesdeas, Maud," and 
if she shakes her head we are going to say 
"How do you do, Mable." 

When we got up here to Harlingen we 
called on J. C. King, who operates the Ar- 
cadia and Rialto theatres, and when we 
walked into his office he looked up and said, 
"Well, gee whiz, are you still running loose? 
The last time I saw you was in Richmond, 
Indiana, about seven years ago." Can you 
beat that for a memory? 

J. C. has been pretty much around the 
globe since we saw him in Richmond. He 
has worked in Ypsilanti, Michigan, Ko- 
komo, Indiana, Omaha, Nebraska, Salt Lake 
City, Utah and Dallas, Texas, and he says 
he took a bath in every town (this last one 
ought to go to Ripley). 

Not to be Wondered At 

Harlingen, you remember, is where they 
had that terrible wind a while back that 
nearly wrecked the town. It blew in the 
whole end of their beautiful city Audi- 
torium and made a complete wreck of the 
whole building, and we are told that the city 
administration is trying to get the govern- 
ment to let them have enough dough to re- 
build it, and if they get it we are going to 
write Uncle Sam and ask him to send us 
enough money to buy some new seats for 
Riverside park up home. Uncle Sam, you 
know, is one of the most accommodating 
guys we know of. 

Harlingen has a beautiful golf course and 
the weather was most delightful, but J. C. 
stayed right on the job, and when one sees 
the lady he had in the box office one don't 

wonder much about it; we'd stay on the job 

Harlingen is where the Missouri Pacific 
railroad stops and catches its breath and 
turns north toward the snowbanks. We al- 
ways thought the Missouri Pacific only ran 
from Omaha, Nebraska, to Kansas City, 
Missouri, but they came on down here 
where they could get colored fellows for 

Whenever we think of railroads we think 
of what a chap told us who was going to 
college up home when he said he would hate 
to own a railroad, and when we asked him 
why, he said, "Because the conductors steal 
so damn much money." But then that's got 
nothing to do with J. C. King, while J. C. 
King has nothing to do with the King ranch 
(which, by-the-way, is said to be the largest 
one in the world), but he does have some- 
thing to do with the Harlingen theatres, 
and the Harlingen theatres are what make 
the town of such importance in the Rio 
Grande valley. We hope to go back before 
we leave the valley and see Mr. King and 
Mr. Brady both, and we are going to take 
the chief of police with us too. 


A Slip in Tinne 

A friend of ours who lives in Alamo and 
who owns a prize milk cow, told us the 
other day that when he was bringing his 
cow across a wet pavement she slipped down 
and strained her milk. We said "Huh, 
that's nothing, we slipped down on a 
banana peel yesterday and broke the 
seventh commandment and two good reso- 
lutions, and when we got up there were two 
Mexican women and a hardware dealer 
laughing at us." 


H. C. Hollowman operates the Capitol 
theatre at Mercedes. Mercedes might be 
quite a town if she only had room to 
spread herself, but she is hemmed in by 
Laferia on one side and Weslico on the 
other, and Weslico prevents her from lap- 
ping over on Donna, but that isn't H. C.'s 
fault, he is doing his best to make Mer- 
cedes the principal town of the valley, and 
if Harlingen and Brownsville don't look out 
he will do it, too. He is making his theatre 
a universal rallying place for southeast 
Texas, and his wife is helping him. 


The other day we were invited down to 
McAllen to see Katharine Hepburn in "The 
Little Minister." Shine Mason, the man- 
ager of the Palace theatre, is always doing 
something just like that. Katharine played 
the part of a gipsy girl and she was in love 
with the Little Minister but she was so darn 
coquettish that if we had been the Little 
Minister we would have told her to go and 
lit down with the kittens. There's no darn 
sense in a girl acting that way when she 
knows a fellow is in love with her, but then 
anyhow, "The Little Minister" was a good 
show and Shine has our thanks for inviting 
us to see it, but if we ever fall in love with 
a gipsy girl we are going to have her 
mother tell our fortune or trade horses with 
her old man. 

We met an overland panhandler on the 
street the other day and he stopped us and 
said, "Say, brother, could you stake me to 
a dime to get some breakfast"? We looked 
him over and replied, "Well, Willie, we are 
delighted to find a 'brother' down here 
among the Longhorns and we are wondering 
if you have made application to the gov- 
ernment for a position as water boy in that 
'shelterbelt' proposition. Uncle Sam is 
looking for some talent along that line." 
Willie replied, "Nope, never heard of it." 

There is one thing we have noticed in 
particular since coming to Texas, and espe- 
cially the Rio Grande valley, and that is 
the absence of pool halls. We can't recall 
seeing a single pool hall since coming to 
the state, although we are not overly ob- 
serving. That may, in some degree, ac- 
count for the business that is being done 
at the theatres. Outside of a tent show or 
a basket ball game, we know of nothing 
that will detract from the theatre like a 
pool hall. Our judgment is that they have 
not been rightfully named; they should be 
named Crime Incubators, for it is in the 
average small town pool hall where the 
most of our criminals got their early edu- 
cation. Texas leads the world in churches 
but not in pool halls. 


We tuned in on the radio last night and 
heard a crooner sing "Sweet Love, I'm 
Longing for You," then we went and ate 
two dill pickles and went to bed. 

Maybe we will have a shark story for you 
next time. 

The herald's Vagabond Colyumnist 

Conklin Leaves for Coast 
After Luncheon by Hearst 

The Hearst newspaper, motion picture 
and realty interests in New York late last 
week gave a luncheon at the Warwick Hotel 
to the film and news press to mark the de- 
parture for Hollywood of Frank Conklin, 
former motion picture man and now Hearst 
hotel executive. Mr. Conklin will return 
to New York in three weeks. 

The Hearst motion picture interests 
were represented by E. B. Hatrick and M. 
D. Clofine. Jack Cohn, Columbia vice presi- 
dent ; Morton Downey ; Walter F. Eber- 
hardt. Western Electric; Henry L. Sals- 
bury, Paramount Productions, and some 
three dozen representatives of Broadway 
home offices and of the press were on 

Film Finance Company Formed 

A new film financing company has been 
formed at Wilmington, Del., known as the 
Standard Capital Company. The company 
was given permission by the Securities Com- 
mission at Washington to float an issue of 
15,000 shares of six per cent preferred 
stock, par value $100, and 33,333 shares of 
$1 par common. 

March 2 , 1935 





AMONG THE MISSING: Richard Cromwell, Billiie 
Seward — Drew average crowd but nothing extra. We 
would rate it just fair. Played February 13-14.— 
Harold C. Allison, Baldwin Theatre, Baldwin, Mich. 
Small town patronage. 

AMONG THE MISSING: Richard Cromwell, Bil- 
lie Seward — A mighty fine program picture. A splen- 
did cast and interesting story. Gave good satisfaction. 
Played on a double feature bill. — Bert Silver, Silver 
Family Theatre, Greenville, Mich. Town and coun- 
try patronage. 

BEST MAN WINS, THE: Edmund Lowe, Jack 
Holt — Ordinary program picture in which the patrons 
didn't break down the doors trying to get in. No 
kicks or praise on the picture so it must be OK. — 
E. C. Arehart, Princess Theatre, Odebolt, Iowa. 
General patronage. 

BEST MAN WINS, THE: Jack Holt, Edmund Lowe 
— A very good deep-sea diving story with plenty of 
good story and action. Best Bargain Show business 
in months. Patrons liked it fine. Running time, 
seven reels. Played February 23-24. — Earl J. Mc- 
Clurg, Grand Theatre, Preston, Idaho. Small town 
and rural patronage. 

BEYOND THE LAW: Tim McCoy— A good pro- 
gram picture that will please your action fans. Have 
not had a bad McCoy picture yet. Sound and pho- 
tography good. Played January 29-30. — W. J. Carter, 
Maxine Theatre, Croswell, Mich. Small town patron- 

BLACK MOON: Jack Holt, Fay Wray— Went back 
and picked this up on short notice, and wished very 
much that I just hadn't had a show that day. The 
cast was good, and the title okay, but too much 
voodoo drums and dark film, the kind that forces you 
to turn your volume control up to the last notch to 
get enough out of it, then when you do it's bad. 
Btmning time, 68 minutes. Flayed December 30-3L — 
Lamar Guthrie, Rogue Theatre No. 3, Tipton, Okla. 
Small town patronage. 

BROADWAY BILL: Warner Baxter, Myrna Loy— 
Very good picture, but disappointing at the box of- 
fice. Had hard competition and failed to do extra 
business. If the name were changed, I dare say it 
would increase at the box office, as Broadway is sure 
poison to my patrons. They all think that "Broadway 
Bill" is another shyster and pass it up. Running 
time, 11 reels. Played January 27-29.— Earl J. Mc- 
Clurg, Grand Theatre, Preston, Idaho. Small town 
and rural patronage. 

Wynne Gibson, Victor McLaglen, John Gilbert — We 
have read several adverse reports on this one but I 
have seen no report that does the subject justice. You 
simply have to go to the Bible for words to describe 
it. The show is simply "past all understanding." 
There may be people who can tell what this show 
is about but we seem to have none of them in Man- 
assa. We ran a picture once which was never re- 
leased but it was a better picture than this one. Run- 
ning time, 103 minutes. Played February 22-23. — G. 
A. Van Fradenburg, The Valley Theatre, Manassa, 
Col. Farming community patronage. 

Laglen, John Gilbert, Walter Connolly — Nothing much 
to it. Wish I had not played it. Did not please. 
Running time, 9 reels. — Sammie Jackson, Jackson 
Theatre, Flomaton, Ala. Small town patronage. 

FUGITIVE LADY: Neil Hamilton, Florence Rice- 
Folks, here is a picture that is 100 per cent entertain- 
ment and our customers told us so when they went 
out. Good story, good acting. Columbia pictures 
arc consistently good. Played January 15-16. — W. J. 
Carter, Maxine Theatre, Croswell, Mich. Small town 

MILLS OF THE GODS: May Robson— A very good 
program picture. Excellent work by all in cast. Did 
extra fine business. Everyone pleased. Running 
time, 70 minutes. Played January 30-31. — Earl J. Mc- 
Clurg, Grand Theatre, Preston, Idaho. Small town 
and rural patronage. 

Donald Cook — Here is another good one from Colum- 
bia. Good story and the acting of Jean Arthur is 
worth the price of admission alone. You can't go 
wrong showing pictures like this. They keep you out 
of the red. Played February S-6. — W. J. Carter, 
Maxine Theatre, Croswell, Mich. Small town patron- 

ONE NIGHT OF LOVE: Grace Moore, Tullio Car- 
minati — Our town is very small with a population of 
500 people. Our patrons just raved over the singing 
of Grace Moore and the sparkling comedy in this pro- 

N this, the exhibitors' own de- 
partment, the theatremen of the 
nation serve one another with 
information on the box office per- 
formance of product for their mu- 
tual benefit. It is a service of the 
exhibitor for the exhibitor. Address 
all communications to — 

^hat the Picture Did for Me 

1790 Broadway, New York 

duction. We had people during this showing whom 
we had not seen in our theatre and they came from 
distant miles. We really created some new theatre- 
goers in the showing of "One Night of Love." Pic- 
ture in its entirety is swell and business was very 
good in spite of the most extremely cold night we 
have had out here. I can recommend this picture 
highly. — Ben H. Crocker, Tribune Theatre, Tribune, 
Kan. Small town patronage. 

ONE NIGHT OF LOVE: Grace Moore— This would 
perhaps give a Boston theatre a high gross for the 
year but it came very close to giving us the low 
gross for five years, and the few that saw it were 
mostly dissatisfied. Running time, nine reels. Played 
February 8-9.— G. A. Van Fradenburg, The Valley 
Theatre, Manassa, Col. Farming community patron- 

First National 

BABBITT: Aline McMahon, Guy Kibbee— Very 
good. This pair is getting popular, but it is the old 
reliable Babbitt story and it will have a certain ap- 
peal in the small towns. But I still am on the fence 
as to the advisability of bringing back many of these 
pictures that were made in silent days. The picture 
did not do as well at the box office as I expected. — 
A. E. Hancock, Columbia Theatre, Columbia City, 
Ind. General patronage. 

BABBITT: Aline MacMahon, Guy Kibbee— Another 
wow from this team. Kept them laughing from the 
first reel to the last. Just a small town natural. 
Running time. 75 minutes. Played February 9-10. — 
Gladys E. McArdle, Owl Theatre, Lebanon, Kan. 
Small town patronage. 

BABBITT: Guy Kibbee. Aline MacMahon— This 
was supposed to be a follow-up picture to "Big- 
Hearted Herbert" and it drew good because the 
patrons remembered what good comedy amusement 
"Big Hearted Herbert" was, but they were a little 
fooled on "Babbitt." Although it is very good en- 
tertainment, it will not please as well as some of 
Kibbee's other pictures. A good Family Night pic- 
ture. Played February 10-12.— Bob Ouellette, Dixie 
Theatre, Brooksville, Fla. Small town patronage. 

BRITISH AGENT: Leslie Howard, Kay Francis— 
A mighty good entertaining picture. Wonderful work 
by the stars and an interesting story. Gave good 
satisfaction. Played February 4-5. — Bert Silver, Sil- 
ver Family Theatre, Greeneville, Mich. Town and 
country patronage. 

RED HOT TIRES: Lyle Talbot, Mary Astor— This 
is a very good auto race picture. Good action, good 
directing. A swell Saturday picture. Did excellent 
at box office and pleased the patrons. Running time, 
72 minutes. Played February 1-2.— Earl J. McClurg, 
Grand Theatre, Preston, Idaho. Small town and 
rural patronage. 


BRIGHT EYES: Shirley Temple. James Dunn- 
Thanks, Shirley, you little honey. You will eventually 
help us lift the mortgage. May you never grow up. — 
E. C. Arehart, Princess Theatre, Odebolt, Iowa. Gen- 
eral patronage. 

BRIGHT EYES: Shirley Temple— Here is the cut- 
est of all the Shirley Temple pictures. Would like 
to see Shirley once a week, and I think most everyone 
else would. Have never seen anyone that had the 
drawing power she has. _ Play this as soon as you 
can. Running time, 83 minutes. Played February 14- 

15. — Miss Alice Simmons, Lyric Theatre, Jefferson, 
Texas. General patronage. 

BRIGHT EYES: Shirley Temple, James Dunn — 
Ran this three days midweek and broke all box office 
records for past two years. This little girl is actually 
a better box-office star than Rogers, but I am afraid 
that she was at her peak in "Bright Eyes." An ex- 
cellent production all the way through. Played Feb- 
ruary 13-15. — Warren L. Weber, Deluxe Theatre, St. 
John, Kan. General patronage. 

George White, Alice Faye — Good sound, but picture 
was not so very well accepted by our audience. It 
was well taken and the acting was good but the song 
hits were rather suggestive and too much sex in it for 
the Owl to play. But we did a very good business 
and I guess it did not hurt anybody. Nine reels and 
good print. Running time, 72 minutes. Played Feb- 
ruary 15-16.— Albert Hefferan, Owl Theatre, Grand 
Rapids, Mich. Special patronage. 

HELL IN THE HEAVENS: Warner Baxter— OK, 
though my patrons did remember that they had seen 
the air scenes before. Acceptable program picture, 
however. Played January 15. — Chas. S. Edwards, 
Queen Theatre, Pilot Point, Texas. General patron- 

JUDGE PRIEST: Will Rogers— One of the best 
Rogers to date. Good box office, and everybody hap- 
py. What more do you want? Played February 
9-10.- W. J. Carter, Maxine Theatre, Croswell, Mich. 
Small town patronage. 

LOTTERY LOVER: "Pat" Paterson, Lew Ayres 
— A natural! A good comedy throughout. About a 
bunch of cadets (Americans) in gay Paree! A garter 
falls from the sky, which starts the cadets out to 
find and court the wearer. The situations that follow 
are very amusing. Some good songs, especially the 
one sung by Peggy Fears. Very good plot and story 
in general. Played February 8-9. — Charles Summers 
& Son, Elite Theatre, Selling, Okla. Small town and 
rural patronage. 

MARIE GAL ANTE: Spencer Tracy, Ketti Gallian 
Only fair. Only a vehicle for the new star, Ketti Gil- 
lian, to ride in. Concerns the spy-infested Canal Zone 
of Central America, and a plot to blow up the Canal. 
Don't go too big on it. However, the patrons in 
your neck o' the woods may like this stuff. They 
don't care much for it here. Played February 10-11. 
— Charles Summers & Son, Elite Theatre, Selling, 
Okla. Small town and rural patronage. 

MUSIC IN THE AIR: Gloria Swanson, John Boles 
— Swanson was through years ago, she is through 
now and will be from now on. Why they try to palm 
some of these old stars off on us is more than I can 
figure out. There is not one damn excuse for this one. 
About the silliest that the mind could imagine. I 
guess this one was made under the guise of "ART," 
which seems the rage now. I would advise that you 
attend your neighbor's theatre on this one before you 
play it. Needless to say I took a nice loss at the 
box-office. Played February 15-16.— Charles S. Ed- 
wards. Queen Theatre, Pilot Point, 'Texas. Ge»eral 

SERVANTS' ENTRANCE: Janet Gaynor, Lew 
Ayres — Good picture but not up to the Gaynor stand- 
ard. With an American locale it woould have gone 
over big, but these foreign pictures do not click here. 
Good cast and well produced, and pleased those who 
came. Running time, 88 minutes. Played February 
6-7.— Gladys E. McArdle, O-wl Theatre, Lebanon, Kan. 
Small town patronage. 

365 NIGHTS IN HOLLYWOOD: Alice Faye, James 
Dunn — We did a good business on this one. Well liked 
by every one. Advertise it and do business. Faye 
and Dunn make a very good team. Also the antics 
of Mitchell and Durante kept the audience laughing. 
There isn't a dull moment in it. Has a good song or 
two and some very good acting. Don't believe you 
can £0 wrong on it. We didn't. Played January 
27-28. — Charles Summers & Son, Elite Theatre, Selling, 
Okla. Small town, rural patronage. 

WHITE PARADE, THE: Loretta Young, John 
Boles — I never will know just why this wasn't sold 
as a special. If Fox has ever turned out a special, 
this one is. Loretta Young is one of the finest ac- 
tresses on our screen and my patrons didn't hesitate 
long in finding out Jane Darwell's name and they re- 
member it. "They all say that she is here to take 
Marie Dressler's place and I for one am going to do 
all I can to put her over in my house because my 
audiences have never raved about an unknown before 
like they have Sailor Darwell. This picture much 
better than "Men in White" and should be played 
on your best days and highly advertised. I don't 
believe the town's grouch can help praising it. I had 
100 per cent reaction from my audiences and a huge 
gross. Played February 1-2. — Chas. S. Edwards, 
Queen Theatre, Pilot Point, Tex. General patron- 



March 2, 1935 


CRIMSON ROMANCE: Ben Lyon, Sari Maritza— 
Fairly good story of the World War, sold as a special. 
Will make you some money if you can buy it right. 
Played January 19-20.— W. J. Carter, Maxine Theatre, 
Croswell, Mich. Small town patronage. 

CRIMSON ROMANCE: Ben Lyon, Sari Maritza— 
This was considerably above average of what we ex- 
pect from independent producers, with good recording, 
good direction arid a general all around smoothness 
that we get from the majors. This is a "Dawn Pa- 
trol" type of story, and as such it held the interest all 
the way. We double-billed it with a Buck Jones pic- 
ture and did above average business. Where double 
billing is not customary, "Crimson Romance" aione 
should please those who like action and thrills. — J. E. 
Stocker, Myrtle Theatre, Detroit, Mich. General 


BABES IN TOYLAND: Laurel and Hardy— Very 
topical in Christmas season, but it was a washout 
playing it later. It is neither a kid's picture and 
neither was it an adult one. It is elaborately mounted, 
good music, and strictly a holiday picture that should 
have been run either close to Christmas or soon 
thereafter. Laurel and Hardy are not popular with 
the adults, either. They were all right in two-reel 
comedies, but they are too much of a type to make 
stars to head a feature with. — A. E. Hancock, Co- 
lumbia Theatre, Columbia City, Ind. General pat- 

BABES IN TOYLAND: Laurel and Hardy— Great. 
The old fairy tales come to life and how ! The par- 
ents could not drag the kiddies out after the first 
show, so they all stayed for the second show and 
some came back the second night. You cannot ad- 
vertise this too highly for kiddies, and adults seemed 
to like it, too. Very clever impersonations. Excep- 
tionally good. Running time, 85 minutes. Played Feb- 
ruary 13-14.— Gladys E. McArdle, Owl Theatre, Leba- 
non, Kan. Small town patronage. 

BABES IN TOYLAND: Laurel and Hardy— Not 
liked here. Why waste such a picture on Laurel 
and Hardy and why waste Laurel and Hardy on such 
a picture. It would seem to me that producers will 
learn some day that this type of picture will not go 
over at the box office. Most of them have tried it 
at one time or another. Played January 22-23. — War- 
ren L. Weber, Deluxe Theatre, St. John, Kan. General 

BAND PLAYS ON, THE: Robert Young, Stuart 
Erwin — Oiie of the best shows of the year. Worth 
a dozen "specials." Good cast, good acting, good 
music, interesting story, clean, and just an all-around 
good show that pleased every one. Shows like this 
are a credit to the producer and the exhibitor. Stuart 
Erwin steals the show. Some good football games. 
Leo has something to roar about in this one. Run- 
ning time, 85 minutes. Played February 15-17. — 
Gladys E. McArdle, Owl Theatre, Lebanon, Kan. 
Small town patronage. 

Montgomery, Ann Harding — A good picture which 
was spoiled by damaged print we received. Pulled 
it as soon as I could get next scheduled picture in 
town. Kids won't like it and will not draw extra 
business — too much talk and sameness. Played Feb- 
ruary 10-11. — John H. Forrester, Pines Theatre, Wal- 
dron. Ark. General patronage. 

ing, Robert Montgomery — Have seen Ann Harding 
in better pictures, but this one will please. Did not 
think Robert Montgomery suited the role he played. 
He is one of my favorites, and I was disappointed 
in him. Running time, 84 minutes. Played January 
20-21. — Miss Alice Simmons, Lyric Theatre, Jefifer- 
son, Texas. General patronage. 

EVELYN PRENTICE: William Powell, Myrna Loy 
— A great entertaining picture, fine story, a great 
pair of stars and a splendid cast. Gave good satis- 
faction to all we got to see it, though it did not do 
the business it deserved, but none of them do now- 
adays. Played February 10-11. — Bert Silver, Silver 
Family Theatre, Greenville, Mich. Town and coun- 
try patronage. 

FORSAKING ALL OTHERS: Joan Crawford, Clark 
Gable, Robert Montgomery — Three of the most popular 
stars in a picture that will please just about 100 per 
cent. Personally I enjoyed it immensely. We did a 
nice business, although very bad weather first night. 
They always come out to see these stars. Metro 
certainly makes some fine pictures. Running time, 
74 minutes. Played February 12-13. — Miss Alice Sim- 
mons, Lyric Theatre, Jeflterson, Texas. General pat- 

MERRY WIDOW: Jeanette MacDonald, Maurice 
Chevalier, Edward Everett Horton — A beautiful pic- 
ture in production and story. The picture has been 
modernized over the old version. Elaborately mounted 
with the Rasch Ballet girls. This great ensemble of 
dancers are nothing short of marvelous in every pic- 
ture that we have had them in. Spectacular dance 
scenes in the shots of Maxim's. The picture was not 
a success at the box office, just average business. 
Chevalier is not easy to understand and there are 
many that do not go for him in this town. — A. E. 
Hancock, Columbia Theatre, Columbia City, Ind. 
General patronage. 


Adding their comment on product 
to "What the Picture Did for Me" 
in this issue are the following: 

Ben H. Crocker, Tribune The- 
atre, Tribune, Kansas. 

W. M. Allison, Mission Theatre, 
Clayton, New Mexico. 

Brian Aherne — This is an extra good entertaining 
picture. Great story and great work by the stars 
and all the cast. Did not draw any business, but no 
fault of the picture. Played February 13-14. — Bert 
Silver, Silver Family Theatre, Greenville, Mich. Town 
and country patronage. 


Louise Dresser, Ralph Morgan — Well, you can knock 
me down with a truck if dozens of people didn't come 
up to me and tell me this was one of the best pictures 
they had seen in years. I was afraid at first to use 
it, but now I am fully convinced that it is as good 
as any put out by major companies, and it drew to a 
nice average business for us. Personally I could see, 
and you will also see, that the direction is a wee bit 
weak in spots, but your patrons will never notice this, 
and altogether it will stand a lot of advertising and 
your very best days. A natural for your Family 
Nights. Played February 17-19.— Bob Ouellette, Dixie 
Theatre, Brooksville, Fla. Small town patronage. 

JANE. EYRE: Colin CHve, Virginia Brucc^Had the 
Ladies' Aid sell tickets on this one. All the old 
ladies in town came to see it, but the men and young 
people were notable by their absence. Therefore, we 
didn't do over average business. However, it's a pic- 
ture that suited the Ladies' Aid. — Harold C. Allison, 
Baldwin Theatre, Baldwin, Mich. Small town pat- 

MANHATTAN LOVE SONG: Robert Armstrong, 
Dixie Lee — This went over pretty good, but the pro- 
ducer missed a chance to make a really interesting 
and amusing program out of this. However, it is not 
so bad, even if it does move at a rather slow tempo. 
Played February 3-4. — Charles Summers & Son, Elite 
Theatre, Seiling, Okla. Small town and rural pat- 

RANDY RIDES ALONE: John Wayne— Just about 
the weakest western we ever used. Absolutely noth- 
ing to it; very little action, weak story. It is very 
rare that any of the country people walk out on a 
western, but a few walked out on this one. John 
Wayne is a good draw, but such weak ones as this 
will surely hurt his following. Played February 8-9.— 
Bob Ouellette, Dixie Theatre, Brooksville, Fla. Small 
town patronage. 


BEHOLD MY WIFE: Sylvia Sidney, Gene Ray- 
mond — A nice little program picture. Every one 
enjoyed it, and more business than I expected, al- 
though Sylvia Sidney liked very much here. Run- 
ning time, 79 minutes. Played January 17-18. — Miss 
Alice Simmons, Lyric Theatre, Jefferson, Texas. 
General patronage. 

CLEOPATRA: Claudette Colbert, Warren William 
— Only Cecil B. DeMille could produce so masterful a 
spectacle, but the love story between Antony and 

OUR ADVICE ■ . ■ ■ get set for the rush 


Qffer<; You a Box-Office Sensation 





(Edwin C. Hill Hour) 



write — wire — phone 


630 NINTH AVE., N. Y. C. 

Cleopatra is not lost sight of amidst all the grandeur. 
It is easy to class this as the most ambitious under- 
taking since talkies came in. A worthwhile picture 
in every respect, but in this working-class locality 
the best business as we could do with it was a bare 
average. Those who came seemed to enjoy it. — J. E. 
Stofcker, Myrtle Theatre, Detroit, Mich. General pat- 

COLLEGE RHYTHM: Jack Oakie, Joe Penner, 
Lanny Ross — This is topnotch entertainment. You'll 
wonder how any one can be as dumb as Joe Penner; 
Oakie is good, Lanny Ross is good, and the music 
is good. Here's a picture you don't have to be 
afraid to boost and advertise to the skies; it will 
stand it, if you buy it right. Played February 3-5.— 
Bob Ouellette, Dixie Theatre, Brooksville, Fla. Small 
town patronage. 

COLLEGE RHYTHM: Jack Oakie, Joe Penner - 
One of the best college pictures we have ever playe . 
Joe Penner kept the audience in an uproar. I hopj 
to see him in another soon, as good. Very good 
music and dance numbers in this. Nice business. 
Every one satisfied. Running time, 83 minutes. 
Played January 13-14. — Miss Alice Simmons, Lyric 
Theatre, Jefferson, Texas. General patronage. 

wonderful picture. Nothing but praise. — Sammie Jack- 
son, Jackson Theatre, Flomaton, Ala. Small town 

nolly, Paul Lukas, Gertrude Michael — Do your cus- 
tomers, a favor and don't play this one. Played on 
Saturday night and hit on all-time low for our the- 
atre. Played February 16.— Harold C. Allison, Bald- 
win Theatre, Baldwin, Mich. Small town patronage. 

GILDED LILY, THE: Claudette Colbert, Fred 
MacMurray — An extra good picture that every one 
appreciated. If dialogue had been a little snappier 
would have equalled Colbert's performance in "It 
Happened One Night." Had many patrons favorably 
compare it with this picture. Played February 6-7. — 
John H. Forrester, Pines Theatre, Waldron, Ark. 
General patronage. 

HERE IS MY HEART: Bing Crosby— Not as good 
as some of the other Crosby pictures. The songs were 
the best thing about it; beautiful music. Cannot 
say much for anything else. No complaints and nice 
business for two days. Pleased most all. Running 
time, 76 minutes. Played January 31 -February 1. — 
Miss Alice Simmons, Lyric Theatre, JefTerson, Texas. 
General patronage. 

HERE IS MY HEART: Bing Crosby— Not up to 
Bing's standard and Kitty Carlisle is not liked here. 
A couple of good tunes and a little above average 
business. Much too draggy in spots. Played Febru- 
ary 17-19.— Warren L. Weber, Deluxe Theatre, St. 
John. Kan. General patronage. 

HOME ON THE RANGE: Randolph Scott, Jackie 
Coogan — Had to go out to borrow extra chairs for 
this one as pulled the town patrons as well as rural, 
which is unusual for this situation. Running time, 
seven reels. Played January 12. — W. M. Allison, 
Miss Theatre, Clayton, N. M. Small town and rural 

HOME ON THE, RANGE: Randolph Scott— Try 
placing one of these Zane Grey westerns in mid- 
week for a change and see the results. Actually out- 
grossed "Flirtation Walk" and "Forsaking All 
Others." Give us more of these. Played January 30- 
31.— Warren L. Weber, Deluxe Theatre, St. John, 
Kan. General patronage. 

ine Lord, W. C. Fields, Kent Taylor, Evelyn Venable 
— I can only add to the chorus of praise. The work 
of two of the Wiggs children, George Breakston as 
Jimmy Wiggs and Virginia Wiedler as European 
Wiggs, was outstanding. Of course, the work of 
Pauline Lord and the rest of the cast was all that 
could be asked for, but I find it mighty hard to for- 
give them for taking Mrs. Wiggs and Family away 
from the theatre right in the middle of the show 
which to them was a treat of a lifetime. I am sure 
they could be permitted to see the whole show with- 
out weakening the story. Business a little better than 
average. — J. E. Stocker, Myrtle Theatre. Detroit, 
Mich. General patronage. 

NOW AND FOREVER: Gary Cooper, Carole Lom- 
bard, Shirley Temple — One of the best. If you haven't 
run this one be sure to pick it up. Pleased every 
one. Running time, 82 minutes. Played January 20- 
21-22.— W. M. Allison, Mission Tbeatre, Clayton, N. 
M. Small town and rural patronage. 

PRESIDENT VANISHES: Arthur Bryon— Old peo- 
ple like it pretty well; young people despise it. Did 
poor business at box-office. If I had it to do over 
again I wouldn't run it. Running time, 70 minutes. 
Played January 13-15.— Earl J. McQurg, Grand The- 
atre, Preston, Idaho. Small town and rural pat- 

RUMBA: George Raft, Carole Lombard— Okay if 
they like this dance team stuff. Played on Cash Night 
to generally disappointed patrons. I still think Raft 
is better in action and gangster type pictures. Maybe 
I'm wrong, but neither this or "Bolero" would have 
paid their rental had they not been played on Cash 
Nights. Played February 15. — John H. Forrester, 
Pines Theatre, Waldron, Ark. General patronage. 

SHOOT THE WORKS: Ben Bernie, Jack Oakie— 
Good programmer. — Sammie Jackson, Jackson The- 
atre, Flomaton, Ala. Small town patronage. 

March 2 , 19 3 5 


VANISHING AMERICAN: Richard Dix— This is a 
line picture and drew a good crowd in spite of its 
being silent. People Iil<e tlie cliange from the talk- 
ing every once in a while. We are going to play more 
of these pictures soon every other month or so. Per- 
fect print. Running time, 10 reels. Played February 
13-14.— Albert Hefferan. Owl Theatre, Grand Rapids, 
Mich. Special patronage. 

WAGON WHEELS: Randolph Scott, Gail Patrick— 
Another natural western from Paramount, who 
really spend a little time and money on Zane Grey's. 
You can dust off the Friday-Saturday SRO sign with 
this. Running time, 57 minutes. Played January 26. — 
W. H. Allison, Mission Theatre, Clayton, N. M. Small 
town and rural patronage. 

WILD HORSE MESA: Randolph Scott— Good west- 
ern. — Sammie Jackson. Jackson Theatre, Flomaton, 
Ala. Small town patronage. 

WINGS IN THE DARK: Gary Grant, Myma Ix)y— 
Here is a real picture. Step on it plenty. Good act- 
ing, story and photography. Intensely interesting, no 
draggy spots and it will please generally. Extra 
business for midweek here. Played February 12-13-14. 
— John H. Forrester, Pines Theatre, Waldron, Ark. 
General patronage. 


ANNE OF GREEN GABLES: Anne Shirley, Tom 
Brown — A very sweet picture that pleased every one. 
No extra business, but did not lose anything. Anne 
Shirley very good. Running time, 79 minutes. Played 
February 3-4. — Miss Alice Simmons, Lyric Theatre, 
Jefferson, Texas. General patronage. 

DANGEROUS CORNER: Melvyn Douglas, Vir- 
ginia Bruce — A very good program picture. Did not 
draw any business, but satisfied all we got. Good 
story well acted. Played on a double feature bill. — 
Bert Silver, Silver Family Theatre, Greenville, Mich. 
Town and country patronage. 

ENCHANTED APRIL: Ann Harding— I rather hate 
to report this one against RKO because they have 
been sending us some nice product this season. How- 
ever, this one is 100 per cent failure. More to do 
about nothing than anything I have ever seen. I was 
away from the theatre during the first showing and 
got back just as my patrons were coming out; I 
thought they going to attack me. So I went in and 
saw the next show from start to finish. I couldn't 
have figured what it was all about if I had not had a 
press book synopsis. It would suit my patrons fine 
if they would take Ann Harding out of pictures en- 
tirely. Don't take my word for this one: slip over to 
your neighbor's theatre and see it and watch the 
patrons as they come out. Played February 12. — 
Charles S. Edwards, Queen Theatre, Pilot Point, 
Texas. General patronage. 

FOUNTAIN, THE: Ann Harding, Brian Aherne, 
Paul Lukas — 'This one poor. Had to pull it after the 
first day. Running time, 84 minutes. Played February 
13.— W. M. Allison, Mission Theatre, Clayton, N. M. 
Small town and rural patronage. 

GRAND OLD GIRL: May Robson— RKO called 
this a class A or program picture, but I am going 
on record that it is decidedly above the program class. 
I have played many specials that were not in any 
way up to the standard of this one. My audiences 
went for it about 99 per cent, and took a nice little 
profit. Played January 29. — Charles S. Edwards, 
Queen Theatre, Pilot Point, Texas. General patronage. 

KENTUCKY KERNELS: Wheeler and Woolsey— 
Wheeler and Woolsey have lost most of the punch 
that they started out with several years ago, but, if 
RKO will continue to put a few Spanky McFarlanes, 
etc., into these Wheeler- Woolsey vehicles, the boys 
will come back to the place they formerly held. Good 
picture, clean and really funny, but only fair busi- 
ness. Running time, 75 minutes. Played February 
10-11. — Lamar Guthrie, Rogue Theatre No, 3, Tipton, 
Okla, Small town patronage. 

UTTLE MINISTER, THE: Katharine Hepburn, 
John Beal — All our patrons were pleased with this 
picture and we did a good business both nights. We 
also followed a policy adopted a year ago with school 
matinees on Monday, timed to suit the convenience 
of the classes and school buses. Four telephone calls 
and four letters to principals of four high schools 
within a radius of 15 miles of us, together with dis- 
tribution through them of pamphlets issued by RKO 
to facilitate study and appreciation of this story and 
picture by the students, brougnt us enough children 
at reduced prices to almost equal the night receipts. 
This cannot be done too frequently and only with 
pictures which are in the English courses but under 
conditions it is a new source of revenue as most 
of these youngsters could not attend at night. Run- 
ning time, 110 minutes. Played February 10-11, — H. 
H, Ramsdell, Lyric Theatre. Gaithersburg, Md. Small 
town and farming patronage, 

LITTLE MINISTER: Katharine Hepburn, John 
Beal — This is a great picture. You will have to see 
it to appreciate the entertainment in it, A wonderful 
cast of characters. Fine direction; great story, ^ Play 
it and your patrons will be well satisfied. I call it one 
of the best. Played February 17-18-19.— Bert Silver, 
Silver Family Theatre, Greenville, Mich. Town and 
country patronage. 

THE MEANEST GAL IN TOWN: Set this picture 
out, put it back in again, was tempted to set it out 
again, all on account of adverse criticisms. Why 

don't you write for this column (What the Picture 
Did for Me), forget the box office receipts and review 
the picture _ on its merits. Here is what we call a 
real entertaining picture, good for any theatre in any 
town. We have to be careful the kind of picture we 
show as we have seven churches in this little town. 
But we were glad we played this one. Played Janu- 
ary 22-23, W. J. Carter, Maxine Theatre, Croswell, 
Mich, Small town patronage. 

Oliver, James Gleason — Another good program pic- 
ture, but not as good as "The Penguin Pool Mur- 
der" mystery. Will please on your Bargain Nights. 
Played February 2-3.— W. J. Carter, Maxine Theatre, 
Croswell, Mich. Small town patronage. 

RED MORNING: Steffi Duna, Regis Toomey— Not 
a bad Saturday picture if you can get them in. I 
couldn't and took a small loss. Main trouble with the 
picture is lack of names in the cast. Played January 
25-26.— Chas. S. Edwards, Queen Theatre, Pilot Point, 
Texas. General patronage. 

Francis Lederer — Plenty good for any day. Worth 
preferred playing time in any one's theatre. Lederer 
isn't very well liked, but the picture pleased 100 per 
cent. Played January 11-12. — Chas. S. Edwards, Queen 
Theatre, Pilot Point, Texas. General patronage. 

WEDNESDAY'S CHILD: Karen Morley, Edward 
Arnold — One of the best pictures we ever played; 
100 per cent satisfaction to all we got to see it. Bet- 
ter than most of the socalled "Specials," and our 
patrons told us so. — Bert Silver, Silver Family The- 
atre, Greenville, Mich. Town and country patronage. 

WEST OF THE PECOS: Richard Dix— I went off 
a western policy last year and because I was in need 
of a picture I played this one to poor business. It 
was absolutely no fault of the picture; this is just 
not a western town. Okay where there is a western 
following. Played January 18-19. — Chas. S. Edwards, 
Queen Theatre, Pilot Point, Texas. General patronage. 


ARE WE CIVILIZED?: William Farnum— An edu- 
cational picture good for any kind of patronage. 
Sold as a special. We call it just a good program 
picture. Played January 12-13. — W. J. Carter, Maxine 
Theatre, Croswell, Mich. Small town patronage. 

United Artists 

MIGHTY BARNUM, THE: Wallace Beery. Adolphe 
Menjou — Played this midweek and it did business. We 
think it is a real picture. If you play this in a 
Swedish community you should use a catch line: 
"Hear Beery talk Swede," and what a kick the 
audience got out of that talk. Running time, 10 reels, 
— E, C. Arehart, Princess Theatre, Odebolt, Iowa, 
General patronage, 

SORRELL AND SON: H, B, Warner— A fine pic- 
ture that was not appreciated by Cash Night audi- 
ence, who were restless to draw for extra big pot. 
Picture slow and extra long and no draw by itself. 
Played February 8. — John H. Forrester, Pines The- 
atre, Waldron, Ark. General patronage. 

WE LIVE AGAIN: Anna Sten, Fredric March— 
The ladies liked this. Pulled a little above the aver- 
age. March stole the show. Running time, nine reels, 
— E, C, Arehart, Princess Theatre, Odebolt, Iowa, 
General patronage. 


IMITATION OF LIFE: Claudette Colbert, Warren 
William — This is one picture that should do business 
in any situation, not like some that do box office 
records in New York and then "flop" in the various 
territories. Running time. 111 minutes. Played Janu- 
ary 6-7-8,— W. M, Allison, Mission Theatre, Qayton, 
N. M, Small town patronage, 

IMITATION OF LIFE: Oaudette Colbert, Warren 
William — One of the best pictures we have played in 
quite a while. Many favorable comments. Most 
every one got a good cry out of it. One that will 
bring tears to the entire audience. Wonderful act- 
ing. Running time, 109 minutes. Played February 
5-6. — Miss Alice Simmons, Lyric Theatre, Jefferson, 
Texas. General patronage. 

I'VE BEEN AROUND: Chester Morris— Will please 
all as good comedy. Good picture for Money Night. 
Running time, 75 minutes. Played January 16. — W. 
M. Allison, Mission Theatre, Clayton, N. M. Small 
town patronage. 

Heather Angel — Plenty of mystery, and chills for the 
fans of this type picture. Good picture for Saturday 
crowds here. Played February 16. — John H. For- 
rester, Pines Theatre, Waldron, Aak. General pat- 

SECRET OF THE CHATEAU: Claire Dodd, Clerk 
Williams — No box-office names, title or production. 
Steer clear. Running time, 69 minutes. Played Feb- 
(Contiiined on following page, column 2) 




• A Sound Box-OfFice Attraction 

• Complete Ownership 

• A Self-Liquidating Investment 



Camden, N, J, 
A Radio Corporation of America Subsidiary 



March 2. 1935 

• profitable 

• practical 
• time-saving 

• accurate 

• simple 


a method book that is also an 
account ledger 

It performs two services: (1) It 
is a complete text on the proper 
way to keep your theatre ac- 
counts of expenses and receipts 
and (2) it contains enough pages 
for a full year's bookkeeping. Be- 
cause it is so practical, time-sav- 
ing and accurately simple, thou- 
sands of exhibitors have already 
exchanged their old, cumbersome 
and expensive methods for this 
easy, self-operating system. Its 
use is becoming more widespread 
each day. 

Exhibitors who are already using 
this system are reminded to or- 
der their 1935 book at the earliest 
moment so as to permit no break 
in the daily continuity of your 

Those exhibitors who have not 
yet changed over to this new 
method should do so at once — 
to guard against losses, avoid in- 
come tax troubles, guarantee your 
profits — and to do it effortlessly, 
a few minutes a day. 

Order Now 


hy William F. Morris, C.P.A, 

Sufficient to care for 12 
montlts' records. 
$3.00 - Postage Prepaid 



1790 Broadway New Yort< 


ruary 9. — W. M. Allison, Mission Theatre, Clayton, 
N. M. Small town and rural patronage. 


MacMahon — The most laughable picture I've ever 
shown. Praised by every patron as extra good. They 
came out laughing and some stayed to see it twice. 
Extra pleasing to capacity Saturday crowds. Played 
February 9. — John H. Forrester, Pines Theatre, Wal- 
dren. Ark. General patronage. 

BORDERTOWN: Paul Muni, Bette Davis— An ex- 
cellent Muni picture. Did extra at box office. Some 
fine acting in this one. Every one likes it and asks 
for more like it. Running time, 90 minutes. Played 
January 4-5. — Earl J. McClurg, Grand Theatre, Pres- 
ton, Idaho. Small town and rural patronage. 

BORDERTOWN: Paul Muni, Bette Davis— Not a 
"Big Shot" by a long shot. Just an average good 
show for weekend trade. Will do about average 
western business. Bette Davis is okay and so is 
Muni. Played January 11-12. — Warren L. Weber, 
Deluxe Theatre, St. John, Kan. General patronage. 

CHURCH MOUSE: Laura La Plante— Fair comedy, 
but La Plante has been away too long to do the B. O. 
any good. Running time, seven reels. Played Janu- 
ary 17-18.— W. M. Allison, Mission Theatre, Clayton, 
N. M. Small town and rural patronage. 

DEVIL DOGS OF THE AIR: James Cagney, Pat 
O'Brien, Margaret Lindsay — It's even better than 
"Here Comes the Navy" and will do about the same 
business. Pat O'Brien has a swell part and everyone 
hated to see Cagney get the girl, as usual. Pro- 
ducers would do well to give Pat the girl once in a 
while. Played February 10-12. — Warren L. Weber, 
Deluxe Theatre, St. John, Kan. General patronage. 

FIREBIRD: Ricardo Cortez, Verree Teasdale— One 
of the reasons why exhibitors' organizations all over 
the country fought so hard to get a 10 per cent can- 
cellation clause put in the Code, and why they are 
still fighting to get another 10 per cent cancellation 
clause added. It's frightful to charge your good 
friends and neighbors their hard earned money to 
sit through a thing like this. It's a relief to know 
I used it on a double bill, and not by itself. No en- 
tertainment values, no interest, no reason why it 
should have ever been produced. This broke a low 
gross record for me. Played February 7-8. — Bob 
Ouellette, Dixie Theatre, Brooksville, Pa. Small town 

HAPPINESS AHEAD: Dick Powell, Josephine 
Hutchinson — A mighty fine entertainment. Both stars 
good. Singing, music, story very entertaining. All 
called it a fine entertaining picture. — Bert Silver, Sil- 
ver Family Theatre, Greenville, Mich. Town and 
country patronage. 

Dvorak — An unusually good program picture that drew 
well and pleased all who saw it. However, nothing 
will get them in on Friday and Saturday like a good 
western. I make a motion that all major companies 
go to building us a few westerns again. Running 
time, 60 minutes. Played February 15-16. — Lamar 
Guthrie, Rogue Theatre No. 3, Tipton, Okla. Small 
town patronage. 

ST. LOUIS KID, THE: James Cagney, Patricia 
Ellis — Was more than agreeably surprised in this lit- 
tle picture. Did not have any special power at the 
box-office, but certainly had the power when it came 
to pleasing the cash customers. Running time, 67 
minutes. Played February 8-9. — Lamar Guthrie, Rogue 
Theatre No. 3, Tipton, Okla. Small town patronage. 

ST. LOUIS KID: James Cagney, Patricia Ellis— 
Cagney's rough and ready type of characters seem 
to amuse the majority of our patrons and this picture 
is no exception; fast, snappy action that moves along 
at the right pace, lots of laughs, which makes it 
extra program entertainment, good for the whole 
family. Play it, by all means, and use extra adver- 
tising, for it will stand it. Played February 6-7. — Bob 
Ouellette, Dixie Theatre, Brooksville, Fla. Small town 

SWEET ADELINE: Irene Dunne— Old-fashioned 
picture and certainly people do not like the gay 90's. 
Just another high price flop that should be played 
on a Bargain Show. Poorest gross in months for 
Sunday opening. I guess people would rather do their 
own singing of "Sweet Adeline." Running time, 80 
minutes. Played February 3-5. — Earl J. McClurg. 
Grand Theatre, Preston, Idaho. Small town and rural 

SWEET ADELINE: Irene Dunne— Positively poor. 
I do not average one walkout a month, but had 14 
(about half the crowd) walk out the first night. 
Business terrible and I'm glad. Played February 7-8. 
— Warren L. Weber, Deluxe Theatre, St. John, Kan. 
General patronage. 

Short Features 

VALIANT TAILOR, THE: Comicolor Cartoons— A 
fair cartoon in color. — Harold C. Allison, Baldwin 
Theatre, Baldwin, Mich. Small town patronage. 


BABES AT SEA: Color Rhapsody— A very fine 
color cartoon. Running time, one reel.— Sammie Jack- 
son, Jackson Theatre, Flomaton, Ala. Small town 

BILL POSTER, THE: Krazy Kat Cartoons— Krazy 
Kat cartoon with some vulgarities. — Harold C. Alli- 
son, Baldwin Theatre, Baldwin, Mich. Small town 

GOOFY GONDOLAS: Krazy Kat— No good.— Sam- 
mie Jackson, Jackson Theatre, Flomaton, Ala. Small 
town patronage. 

HARNESSED LIGHTNING: World of Sport— Very 
good reel on the life of a trotting horse. An excellent 
single for any program. — Harold C. Allison, Baldwin 
Theatre, Baldwin, Mich. Small town patronage. 

SPICE OF LIFE: No. 2-Good filler. Running 
time, one reel. — Sammie Jackson, Jackson Theatre, 
Flomaton, Ala. Small town patronage. 


DOGGONE BABIES: Star Comedy— A poor com- 
edy. Running time, two reels. — Miss Alice Simmons, 
Lyric Theatre, Jefferson, Texas. General patronage. 

HELLO, SAILORS: Tom Patricola— Good comedy. 
Plenty of laughs and good tap dancing. Play it. Run- 
ning time, two reels. — Miss Alice Simmons, Lyric 
Theatre, Jefferson, Texas. General patronage. 

RURAL ROMEOS: Coronet Comedy — A very poor 
comedy. I find this in most all Educational comedies. 
Have not played a half dozen good ones. Running 
time, two reels. — Miss Alice Simmons, Lyric The- 
atre, Jefferson, Texas. General patronage. 

THREE BEARS, THE: Terry-Toons— Fair cartoon. 
Running time, one reel. — Sammie Jackson, Jackson 
Theatre, Flomaton, Ala. Small town patronage. 


A very good short done in color. Very pretty, and 
music pleased. Running time, one reel. — ^Miss Alice 
Simmons, Lyric Theatre, Jefferson, Texas. General 

DONE IN OIL: Todd -Kelly —Nothing funny about 
this. — John H. Forrester, Pines Theatre, 'Waldron, 
Ark. General patronage. 

DONE IN OIL: Thelma Todd, Patsy Kelly— A 
fairly good comedy. Few laughs. Have seen better 
with this team. Running time, two reels. — Miss Alice 
Simmons, Lyric Theatre, Jefferson, Texas. General 

HOLLAND IN TULIP TIME: FitzPatrick Travel 
Talk — A very interesting short subject with the most 
beautiful flowers in color. One of the prettiest short 
subjects we have ever played. Running time, one 
reel. — Miss Alice Simmons, Lyric Theatre, Jefferson, 
Texas. General patronage. 

NOSED OUT: Irvin S. Cobb— Most everyone en- 
joyed this comedy. A good many laughs. Running 
time, two reels. — Miss Alice Simmons, Lyric Theatre, 
Jefferson, Texas. General patronage. 

SOMETHING SIMPLE: Charley Chase— Not many 
laughs in this. The Charley Chase comedies do not 
appeal to our patrons. Have grown tired of them. 
Running time, one reel. — Miss Alice Simmons, Lyric 
Theatre, Jefferson, Texas. General patronage. 

Travel Talk — A beautiful short in color. Educational. 
Running time, two reels. — Miss Alice Simmons, Lyric 
Theatre, Jefferson, Texas. General patronage. 

— This is one of the cleverest cartoons we ever had 
and well warrants a little extra advertising. Run- 
ning time, 7 minutes. — H. H. Ramsdell, Lyric The- 
atre, Gaithersburg, Md. Small town and farming pat- 

WASHEE IRONEE: Our Gang— A good comedy. 
"Our Gang" very popular here. Have not had a bad 
one of this series, I think. Running time, two reels. 
— Miss Alice Simmons, Lyric Theatre, Jefferson, 
Texas. General patronage. 

YOU BRING THE DUCKS: Irvin S. Cobb— A good 
many laughs. Fairly good comedy. Running time, 
two reels. — Miss Alice Simmons, Lyric Theatre, Jef- 
ferson, Texas. General patronage. 


— We have seen most of the colored cartoons put out 
by different companies and are playing four distribu- 
tors' product in color, but we rate Paramount as first 
in music and drawings. — Harold C. Allison, Baldwin 
Theatre, Baldwin, Mich. Small town patronage. 

Sailor — Best Popeye cartoon we've had yet. — John H. 

March 2. 1935 



Forrester, Pines Theatre, Waldron, Ark. General 

DREAM WALKING, A: Popeye, the Sailor Car- 
toon—The usual good Popeye. Can't go wrong on 
these. Running time, eight minutes. — W. M. Allison, 
Miss Theatre, Oayton, N. M. Small town and rural 

FEMININE RHYTHM: Ina Ray Button and Her 
Melodears — An extra fine band short, of girl or- 
chestra.— John H. Forrester, Pines Theatre, Waldron, 
Ark. General patronage. 

HOIXYWOOD RHYTHM: Headliners Series— One 
of the most entertaining shorts from Paramount to 
date. Running time, 10 minutes.— W. M. Allison, Mis- 
sion Theatre, Clayton, N. M. Small town and rural 

JUNGLE ANTICS: Paramount Varieties— If your 
patrons like jungle animals they may like this. Run- 
ning time, one reel.— E. C. Arehart, Princess Theatre, 
Odebolt, Iowa. General patronage. 

eye, the Sailor— A very good cartoon. Running time, 
one reel. — Sammie Jackson, Jackson Theatre, Floma- 
ton, Ala. Small town patronage. 

MILLION DOLLAR NOTES: Red Nichols and his 
World Famous Pennies— Another good one from Par- 
amount.— John H. Forrester, Pines Theatre, Waldron, 
Ark. General patronage. 

SADDLE CHAMPS: Grantland Rice Sportlight— 
Good. People here like these sport reels.— John H. 
Forrester, Pines Theatre, Waldron, Ark. General 

TAKING THE BLAME: Betty Boop Cartoon— An- 
other good Boop Cartoon.— John H. Forrester, Pines 
Theatre, Waldron, Ark. General patronage. 

TUNE UP AND SING: Lanny Ross— Excellent 
Screen Song. Running time, one reel.— Sammie Jack- 
son, Jackson Theatre, Flomaton, Ala. Small town 


LA CUCARACHA: Steffi Duna, Don Alvarado— A 
very beautiful short in new color process, with very 
pretty music and dancing. Running time, two reels. 
— Miss Alice Simmons, Lyric Theatre, Jefferson, 
Texas. General patronage. 

MADEIRA, LAND OF WINE: Vagabond Adven- 
ture Series— Interesting scenes of the island near Por- 
tugal.— Harold C. Allison, Baldwin Theatre, Baldwin, 
Mich. Small town patronage. 

SONGS OF COLLEGES: Headliner Series— One of 
the most enjoyable short subjects I have seen. Good 
band music, playing songs of various colleges. Edu- 
cational. Running time, two reels. — Miss Alice Sim- 
mons, Lyric Theatre, JefTerson, Texas. General pat- 

SOUTHERN STYLE: Ruth Etting— Good songs 
and old southern music, sung by Ruth Etting. En- 
joyed very much. Running time, two reels. — Miss 
Alice Simmons, Lyric Theatre, Jefferson, Texas. Gen- 
eral patronage. 

THIS BAND AGE: Ted Fio Rito and Orchestra in 
an , excellent two-reel short. Lovers of good dance 
music are in for a real treat and boy howdy! 
Ted really aggravates a mean keyboard. Don't be 
afraid to boost this; it's good entertainment from 
start to finish. Motion Picture Herald is a welcome 
visitor each week. — Oarke Gurley, Ritz Theatre, 
Bainbridge, Ga. General patronage. 

United Ar+is-|-s 


Symphonies— Another fine color reel from Disney. — 
John H. Forrester, Pines Theatre, Waldron, Ark. 
General patronage. 


CHRIS COLOMBO, JR.: Oswald Cartoon Series- 
Have never had a complaint on any Oswald. Run- 
ning time, eight minutes.— W. M. Allison, Mission 
"Theatre, Clayton, N. M. Small town and rural pat- 

2-A — Very entertaining short. Will please everyone. 
Running time, 20 minutes.— W. M. Allison, Mission 
Theatre, Clayton, N. M. Small town and rural pat- 

TOYLAND PREMIERE: Cartune Qassic- Extra 
fine color cartoon. Laurel & Hardy characters a 
scream. Run it sure. — John H. Forrester, Pines The- 
atre, Waldron, Ark. General patronage. 


DIXIE LAND: See America First— A very inter- 
esting travel short of the "Sunny South." Good 
views and music. This series is all good. — Gladys E. 
McArdle, Owl Theatre, Lebanon, Kan. Small town 

GOOD MORNING, EVE: Broadway Brevities 
Series — Not the type that Vitaphone usually turns 
out. Color good, but comedy slapstick. Running time, 
20 minutes.— W. M. Allison, Mission Tlicatre, Clay- 
ton, N. M. Small town and rural patronage. 

MIRRORS: Freddy Rich and Orchestra— Another 
good Melody Master. Running time, one reel. — Gladys 
E. McArdle, Owl Theatre, Lebanon, Kan. Small town 

MOVIE MEMORIES: Pepper Pot Series— Good. 
Fits any program. — John H. Forrester, Pines Theatre, 
Waldron, Ark. General patronage. 

PAREE, PAREE: Dorothy Stone, Bob Hope— An- 
other musical. People tired of these. — John H. For- 
rester, Pines Theatre, Waldron, Ark. General pat- 

PRIVATE LESSONS: Hal LeRoy— Good two-reel 
musical with some good dancing. The last sequence 
is especially good. — Gladys E. McArdle, Owl Theatre, 
Lebanon, Kan. Small town patronage. 

STORY CONFERENCE: Lillian Roth— A very good 
two-reel short. Running time, two reels. — Gladys E. 
McArdle, Owl Theatre, Lebanon, Kan. Small town 

SYNCOPATED CITY: Hal LeRoy, Dorothy Dare 
— Good musical, but people rather see a good comedy 
than musicals. — John H. Forrester, Pines Theatre, 
Waldron, Ark. General patronage. 

Colored cartoon that is fine. These colored shorts are 
all good. — Gladys E. McArdle, Owl Theatre, Lebanon, 
Kan. Small town patronage. 


GETTING TOGETHER: Michigan Bell Telephone 
(Cartoon) — Very fine and did not cost a cent. They 
pay postage both ways. Recording good. Western 
Electric. Running time, 10 minutes. — Albert Hefferan, 
Owl Theatre, Grand Rapids, Mich. Special patronage. 


WOLF DOG, THE: Chapter 7: Rin Rin Tin, Jr., 
Frankie Darro, Boots Mallory— This chapter of "The 
Wolf Dog" is about like the rest. One reel devoted 
to previous chapter. Running time, two reels. — Sam- 
mie Jackson, Jackson Theatre, Flomaton, Ala, Small 
town patronage. 


RUSTLERS OF RED DOG: John Mack Brown— 
Beheve it will pull better than "Red Rider" did here. 
First three chapters fine.— John H. Forrester, Pines 
Theatre, Waldron, Ark. General patronage. 

TAILSPIN TOMMY: Noah Berry, Jr., Maurice 
Murphy— All patrons from 6 to 60 should like this 
even though transients. The episodes are as enter- 
taining as any two-reel short. Running time, 20 
minutes each. — W. M. Allen, Mission Theatre, Qay- 
ton, N. M. Small town patronage. 



To THE Editor of the Herald: 

I was very much interested in the letter of 
Colonel Jenkins on his recent trip to the Valley. 
He was evidently not pleased with his trip to 
Matamoros, Mexico, as both times he has been 
here he has side-swiped this city with not only 
sarcasm but a general hint for everyone to 
stay away from there. 

Matamoros is just across the silver Rio 
Grande from Brownsville and I regret very 
much that Colonel Jenkins happened to hit the 
low spots of that city which sixty years ago 
boasted of some 80,000 population. I frfl 
certain that if the Colonel had visited the city 
property, he would have discovered there a 
theatre about eighty years old, designed and 
built by Carlotta, the Mad Empress. This the- 
atre was built at the cost of over $100,000 and 
it was the finest theatre building in North 
America at that time, built especially for a 
concert from Madam Sarah Bernhardt. Also 
many of our notable actors and actresses of 
the past have appeared at this theatre, which 
is still operating at this time. This theatre is 

the only theatre I know of that is equipped 
with a hydraulic floor so the incline may be 
leveled for dancing. If he had stopped long 
enough in Brownsville to meet yours truly, I 
would have been glad to show him the only 
fireproof theatre in the Valley, and one of the 
most modern equipped theatres in the state of 
Texas. I would have also been glad to en- 
lighten him of the fact that yours truly has 
been in the business about eighteen years and 
could have swapped many good old true stories 
with him concerning the movie picture business 
of the early days in Texas. So I trust the next 
time the Colonel visits this section it will be 
my extreme pleasure to have a talk with him. 

In a few days I will gather together some 
exploitation material that we have used suc- 
cessfully of late and forward them. One of 
the latest, however, is on the "March of Time." 
Realizing the exceptional quality of this, we 
printed a card showing the dates we were to 
show the "March of Time," and went to every 
newsstand in town where the Time magazine is 
sold. They allowed us to attach this card to 
the second page of the magazine. We also 
selected about three hundred names of our dis- 
tinguished citizens from the telephone book 
and had a sweet-voiced young lady call, telling 
them of the appearance of this splendid feature 
in our theatre. We also placed about fifty-one 
sheets on stands in vacant lots in our residen- 
tial districts. 

On our Bank Night, Wednesday prior to 
the date of showing, we made a personal an- 
nouncement from the stage concerning the 
"March of Time" ; we also had a trailer one 
week in advance. The result was our business 
was almost double on the same night over the 
past five weeks. 

I take great pleasure in reading the Round 
Table each week. — Jno. C. Fanning, Capitol 
Theatre, Brownsville, Texas. 


To THE Editor of the Herald : 

If Miss Jessie Matthews is a sample of 
Britain's best dancing talent then the U. S. 
A. need not worry about losing its claim of 
having the world's best dancer. 

To put Miss Matthews in Fred Astaire's 
class is absolutely ridiculous. "Evergreen" 
was widely advertised and it certainly needed 
to be. Possibly Miss Matthews does possess 
that all-important "it" if by "it" one means 
egotism and sophistication. She has plenty 
of both. 

Give me the mannerisms of sweet and 
charming Miss Rogers any day. She is 
modest, natural and just full of grace and 
real talent. She stands a far better chance 
of reaching the "good as Astaire" goal than 
Miss Matthews ever will. 

There is only one person who can justly 
be classed with Mr. Astaire, and she is sis- 
ter, Adele. They are in a class all by them- 
selves. But give young Ginger Rogers a 
little time and she will reach the goal. 

Miss Matthews has a very nice voice. I'll 
say that much for her — but her dancing — 
well, she would do well to take a few lessons 
from Ginger. — Josephine Sargeant, Glens 
Falls, N. Y. 

To Make Scrappy Dolls 

Columbia Pictures has arranged with the 
Alexander Doll Company, New York, 
licensing the manufacturer to make a series 
of dolls reproducing the cartoon characters 
of the "Scrappy" cartoon series. 

Ray-Bell Moves Office 

Ray-Bell Films, Milwaukee, producer of 
business motion pictures, has removed its 
office to 2269 Ford Road. Larger quarters 
were necessary. 



March 2. 1935 



Reports that Loew would invade Chicago 
by building twenty new theatres here were re- 
vived this week when it was learned that rep- 
resentatives of Loew's theatre department had 
been in town to check over plans and sites. 
The reports failed of actual confirmation as 
this is written, although the move was pretty 
generally talked about. 

At the office of some local architects it was 
said that the Loew movement was known, but 
none of the architects would say his company 
was actually figuring on any of the work. An- 
other angle propounded was that in the event 
of Loew building here, Jones, Linick & Schaef er 
would have a hand in running the Loew houses 
because of the gentlemen's agreement between 
the late Marcus Loew and J L & S that Loew 
would not compete with the Chicago exhibitors. 

The Loew move is conceded to be a retalia- 
tory measure against Essaness, Warner, 
Schoenstadt and some Allied members over 
Metro's inability to get the percentage deals it 
wanted. Balaban & Katz, it is understood, 
would not be affected, since B & K has an 
agreement with Metro running several years 
which precludes competition from Loew houses. 

Jack Miller, while attending the MPTOA 
convention in New Orleans received news that 
Mrs. Helen Miller had started separate main- 
tenance action against him in a bill filed by 
her attorney, McCarthy & Toomin. The Mil- 
lers were married in 1908. 


Spotted along film row : Mrs. G. W. Ed- 
wards of the Opera House, Aledo, 111. ; Steve 
Bennis of Lincoln and his son, Leo. 


Art Gould, booker for Joe Stern, has joined 
the rank of newlyweds. 


Morrie Salkin is handling the Norge line of 
refrigerating equipment for theatres in this ter- 


The complaint of Andrew Cuser against 
Lubliner & Trinz, which was referred to the 
Code Authority after the local board had dis- 
missed it, was upheld as rendered by the local 


Joe Duffy of National Theatre Supply Com- 
pany, ill for some time, was seen along the 


The new hello girl in the United Artists 
office is Margaret Brown, who formerly worked 
for Educational. 


Phil Tague of the Bryn Mawr was rushed 
to the hospital with a sudden attack of appen- 


Elmer Miller, Jack's son, who recently took 
unto himself a wife, made the New Orleans 
convention a honeymoon trip. 


Ben Judell and Simon Simansky are planning 
a few days of rest and recreation at Hot 
Springs soon. 


Murray Bradshaw of the La Grange theatre. 
La Grange, passed away last week. 


Roy Barger will open the Rialto theatre 
with a combination of pictures and burlesque. 

Ed Safier has joined the sales staff of the 
Ben Judell organization handling the country 


Henri Ellman has learned to manipulate his 
new electric razor and is shaving himself a 
half dozen times a day sitting behind his desk. 


Decision Due Soon in 
Franklin-Colunnbia Suit 

The suit for damages of Sidney Franklin, 
Brooklyn-born Spanish bull-fighter, against 
Columbia Pictures Corporation will come 
up before the New York supreme court in 
the near future for decision, Columbia offi- 
cials said this week. 

Mr. Franklin's suit was based upon al- 
legedly damaging material used in the Col- 
umbia short subject, "Throwing the Bull." 
The case was heard last summer and de- 
cision reserved. Mr. Franklin sued for 

Harris Wins U. A. Contest 

Milt Harris, of Loew's State, Cleveland, 
was awarded first prize of $100 in the 
United Artists-Reliance exploitation con- 
test on "Transatlantic Mery-Go-Round." 
Lew Brown, Fox, Washington, won second 
prize, and Lester Pollock, Loew's Roches- 
ter, Rochester, N. Y., third. 

Huish Takes Theatre 

The Huish Theatre Enterprises, operating 
several Utah theatres, has taken over the 
Hunter theatre, Elko, Nev., from John J. 
Hunter. The Huish company is headed by 
C. E. Huish, who is president of Inter- 
mountain Theatres Association. 

East Side House Reopened 

The National theatre on New York's East 
Side was reopened March 1 as a combina- 
tion film and vaudeville house, to be known 
as the New Roosevelt. The house has been 

Releases German Film 

Danubia Pictures, Inc., New York im- 
porter of European films, is releasing in 
this country a German film, "Rakoczy 


Week of February 23 

Hunger Pains RKO Radio 

Flying Down to Zero RKO Radio 


Jamaica ...RKO Radio 

Casting for Luck Educational 


Be Kind to Animals Paramount 

Song Writers of the Gay 

Nineties Paramount 


Horse Collars Columbia 

Pardon My Grip Columbia 


Mickey's Band Concert. . . . United Artists 
Chums Educational 


Dance Contest Paramount 

In the Dog House Columbia 


A Trip Through a Hollywood 

Studio Vltaphone 

Country Boy Vltaphone 


Jack Buchanan, British stage and screen star, 
arrives in New York from England next 

Samuel Goldwyn arrived in New York from 

Harry M. Warner is on a two-week tour of 
inspection of the Warner studios in Bur- 
bank, Cal. Jack Warner is en route to the 
Coast from New York by boat. 

Irene Dunne and her husband. Dr. Francis 
Griffin, left Hollywood on a cruise to New 
York via South America and the Panama 

Joseph M. ScheI^ck, president of United Art- 
ists, accompanied by Nathan Burkan and 
Dennis O'Brien, flew from Hollywood to 
New York. 

George Arliss is due in New York from Hol- 
lywood en route to London to star in a second 
picture for Gaumont British. 

William Kupper was on a sales trip to the 

Charles Laughton sailed for London to star 
in a picture for London Films. 

Harold B. Franklin arrived on the Coast 
from New York. 

Merlin Hall Aylesworth, RKO president, 
returned to New York from Hollywood con- 

George Schaefer, Paramount general man- 
ager, returned to Broadway from the Coast. 

Charles D. Hilles, Paramount trustee in 
bankruptcy, returned to New York from 

J. J. McCarthy, head of the Advertising Ad- 
visory Council, was in Hollywood from 
New York. 

Howard Dietz, advertising director of MGM, 
and William R. Ferguson, head of ex- 
ploitation, returned to New York from Hol- 
lywood and Miami, respectively. 

Arthur Loew arrived at Culver City from 
New York. 

Nelson Eddy arrived in New York from 
Metro's Coast studio and left for New Or- 
leans for the "Naughty Marietta" premiere 
March 2. 

Lenore Coffee, Metro scenarist, arrived in 
New York from the Coast. 

James Barton returned to Broadway from his 
motion picture debut at the Radio studio in 
"Captain Hurricane." 

Ida Wilder of Terry-Toons returned to New 
York from a southern cruise. 

Michael E. Balcon, GB production head, ar- 
rived in New York from London. 

Mrs. Bertha Farkas, Danubia Pictures rep- 
resentative, left New York for a midwestern 
sales tour in the interests of Hungarian pic- 

Victor Killian, stage player, was signed by 
Columbia and left Broadway for Hollywood. 

Sam E. Morris, Warner vice-president, arrived 
in Florida from New York. 

Benjamin P. Schulberg left New York by 
plane for Hollywood to start plans for a 
possible feature series for Paramount. 

John Hay Whitney, producer, flew from 
California to New York. 

Edward McKay, Universal executive, returned 
to New York from Florida by plane. 

Henri D'Abbadie D'Arrast, director, arrived 
in New York from France and left for Hol- 

Nat Cohn and Abe Schneider returned from 
Miami to Broadway. 

Sol Edwards, Educational sales executive, was 
touring Fox exchanges. 

Emanuel Cohen left New York for Holly- 

E. L. Alperson returned to New York from 

Marita Gervay, Hungarian actress, arrived in 
New York en route to Metro's Coast studio. 

Henry Fonda, stage player, arrived at the 
Fox Movietone studio from Broadway. 

March 2, 1935 





z/fn international association of showmen meeting weekly 
in MOTION PICTURE HERALD for mutual aid and progress 


One year ago, Ken Finlay was an unsung theatreman at- 
tached to the staff at the Palace, in Montreal. Then came the 
Quigiey Awards for May and almost immediately Ken went 
one rung up the ladder. Few months later he took another 
step upward and some weeks back, yet another. Confirmation 
of the latter is wired in answer to our query by General Man- 
ager J. J. Fitzgibbons, of Famous Players Canadian, as follows; 

"FInlay's assignment to sales promotion Middle Western 
division is definitely a promotion influenced greatly by pub- 
licity he received through the Quigiey Awards." 

Recently, Mr. Fitzgibbons also said: "When a manager fails 
to take advantage of the opportunity given him in the Quigiey 
Awards contest, he definitely dissipates an asset of inestimable 
value to himself." 

V V V 


"What have become of the exploitation barrages 
of former years? Where are the dynamite-exploiteers 
who spread the word in giant letters across the 
motion picture face of the country? Has the race 
died out?" 

These are the queries contained in a letter from an old 
and dear friend of what we ancients fondly allude to as the 
golden days when veritable hordes of high-powered exploiteers 
descended upon a thousand cities and hamlets, trumpeting 
their box office call to the amazement and perhaps amuse- 
ment of the startled citizenry. 

Has the race died out? Not entirely. Though their num- 
bers are fewer, sufficient evidence to the contrary is reported 
by the stalwarts from time to time to prove that, were the 
gods willing, quite a few of the surviving giants would spring 
to arms overnight. And in the ranks would also appear, from 
among the crop of younger showmen, new faces gifted with 
the same touch of delightful madness that is both the armor 
and ammunition of those zealots destined to roam the country- 
side hunting "that" tieup. 

No, old pal, the race is not dying — it is merely subdued by 
the forces of regimentation now in control of the purse strings. 
And even their guardian angels know that giant exploiteers 
cannot function in an atmosphere of officialdom. Dying? No, 
hibernating until "der tag" when old bruised and battered 
showbusiness is given back to showmen. 


As a class, screen reviewers are not too well endowed with 
a sense of comedy values. Among the few, however, who 
must be counted with those displaying the light and gladsome 
touch is M. Pare Lorentz of Judge. The sly dog causes us 
much merriment by his statement in the February number on 
what he labels theatremen's weaknesses and stupidities. 

For instance, gents, grab yourselves a howl with this priceless 
paragraph of pure Lorentzian mirth: 

"Without giving you my complete course of Theatre Man- 
agement, I want, nevertheless, to call attention to the fact 
that the lunkheads who operate theatres are in a large measure 
responsible for the glittering junk that showers out of the West, 
because the producers try to meet their demands." 

Commentators on the sins of the cinema have handed us 
many a giggle but from now on M. Lorentz is hereby voted our 
favorite screen comic. 

V V V 

Much has been said and written regarding ways and means 
of establishing the theatre as an important center of civic 
activities. And though successful houses as a rule stand high 
in community prestige, managers in these spots wisely are not 
content to rest upon their hard won laurels but seek other 
contacts to strengthen good will. 

Among the most successful of these In making new friends 
for the theatre must be listed the local Industrial exhibit. 
Manager C. G. Hayward, of the Fox-California in San Jose, 
is the latest to report this venture, an account of which appears 
on a following page. 

"It has always been a paramount tenet of Fox West Coast 
Theatre," says Hayward, "that the local showhouse must be- 
come a part of the community In which it is located and It Is 
for this reason that the stunt was consummated. 

V V V 

And ending the page upon an excellent note of cheer, we 
give you, gentlemen of the Round Table, Jack Sanson, who 
goes from the Roger Sherman, in New Haven, to the post 
of assistant to Harry Needles, Warner Theatres Hartford zone 
manager. Jack well deserves his break. Congrats! 



March 2 , I 9 3 S 


Cartoon created by 
Ray Baker, Grand 
Theatre, Littleton, 

Harman's Stylist Describes 
Costumes Worn by Lombard 

A short time ago we ran a story on the 
excellent five-column art layout and story 
secured by Homer Harman, Shubert Rialto, 
St. Louis, Mo., on Colbert in the "Gilded 
Lily," which Paramount is adapting for the 
next Colbert pressbook. 

Harman goes to town again with another 
four-column smash on Carole Lombard in 
"Rhumba." Shot of star attired in modish 
suit and hat was planted in center of story 
written by St. Louis stylist, who describes 
in detail costumes worn by Lombard. 
Make 193 5 Your Award Year 

UNUSUAL WINDOW. Promoted by Bert 
McKeniie, MGM, for "Copperfield" at 
New York Capitol. Star figures dressed in 
same material as costumes worn in picture. 

Black Stages Burlesque 
On Political Parade 

One of the last campaigns put on by 
Harry Black at the Rialto, Glens Falls, be- 
fore joining up with the Loew-Poli forces, 
was a barrage on "County Chairman," one 
of the features being a bannered voting ma- 
chine in the lobby, patrons requested to vote 
their approval of the Will Rogers comedies, 
copy stating that the testimonial would be 
sent to the star. Rollers were used and 
turned by hand as needed, with thousands 
reported signing up. 

In advance, Harry put on a newspaper 
display teaser campaign directed to a mythi- 
cal political club under the direction of the 
local Winchell. The copy was signed by 
"County Chairman" branding as lies he had 
won votes by kissing babies, etc. Letters 
were carried from Black to the club mem- 
bers and vice versa, all working up a lot 
of commotion. 

Another highlight was a street parade led 
by local band, boys carrying comedy ban- 
ners and red flares promoted from state 
troopers. Police department furnished es- 
cort and Buick dealers cooperated by fur- 
nishing newest models and also a 1908 one- 
lung model, all appropriately bannered. 
Harry calls it the perfect burlesque on the 
political parade. 

Front was decorated in red, white and 
blue banners, with flags and "vote for" 
cards. Political box-banner atop marquee 
alongside Rogers' life-size cutout also at- 
tracted considerable attention from onlookers. 

Quaker Oats Offers 
$2500 on 'Devil Dogs' 

Quaker Oats now embarks on their third 
tiein with managers on Warners' "Devil 
Dogs of the Air," offering $2,500 in 58 
cash prizes for the best exploitation cam- 
paigns on the picture, in which Quaker or 
Mothers' Oats are reasonably mentioned. 

Terry Turner, in charge of theatrical 
publicity for the Quaker company through 
Lord and Thomas, has just completed an 
airplane tour of the country and reports 
tieins with chain grocers competing for the 
best store windows and floor displays on the 
picture. Turner states a nationwide news- 
paper campaign is being sponsored by his 
principals. Window posters and counter 
cards are being made available for stores 
throughout the United States and Canada. 
Additional national advertising wiU take 
the form of model airplanes, goggles, hel- 
mets and "Devil Dog" rings. 

The judges include George A. Macdonald, 
vice president of sales of The Quaker Oats 
Company; S. Charles Einfeld, Advertisings 
Director of Warner Brothers Pictures; 
Donald Douglas, vice president in charge of 
advertising The Quaker Oats Company; 
Mort Blumenstock, Advertising Director 
Warner Brothers Theatres ; L. R. Hawley, 
the newly elected advertising manager of 
The Quaker Oats Company ; David M. 
Noyes, vice president. Lord and Thomas, 
Chicago; Jack Pegler, motion picture ad- 
vertising and publicity. Lord and Thomas, 
New York, and Terry Turner, in charge of 
theatrical publicity for Quaker Oats. 

Contest for theatre managers closes mid- 
night of May 15 and all marked tear sheets, 
photos, samples of heralds, etc., should be 
mailed to Terry Turner, care of Quaker 
Oats Company, Chicago. 

Prizes are split as follows : first, $500 ; 
second, $250; third, $150; fourth, $100; 
fifth, $90; sixth, $75; seventh, $50; eighth, 
$35, and 50 prizes of $25 each. 

As usual, managers who wish their cam- 
paigns to be entered in the monthly Quig- 
ley Awards competitions should so specify 
this in writing in front of their campaigns. 
Entries for the Awards may be forwarded 
first to Quigley Committee headquarters 
for consideration in the monthly judging 
and then sent to Chicago. 

Round Tablers took down all the cash 
prizes in the last Quaker Oats- Warner con- 
test and reports from the field indicate wide 
participation in the above competition. 


The closing date of the "Ruggles of 
Red Gap" exploitation contest is now 
set for midnight of April 26, instead 
of April 12, as previously announced. 
The change has been made to con- 
form with the revised release schedule 
as the picture has been set back. 

In addition to the manuals available 
to interested theatremen, Alec Moss 
of Paramount states supplementary 
exploitation ideas on "Ruggles" are 
now being forwarded. 

March 2. 1935 


"AMERICA TRIUMPHANT". Is the title of the mural Illustrated above in the 
lobby of the Enright Theatre, Pittsburgh, Pa. The painting is the work of S. Tilden 
Stern, art director, Pittsburgh Warner Theatres, measL';es 30 feet wide by 12 fee! 
high, and is In commemoration of Thomas F. Enright, first American soldier 
killed in the World War. 

Hayward Promotes 
Lobby County Fair 

Institutional tieups with local organiza- 
tions that have a tendency to further the 
prestige of a theatre are of course not un- 
usual. However, in the case of Manager 
C. G. Hayward, Fox-California, San Jose, 
Cal., a different twist was worked by his 
direct promotion of a Santa Clara County 
Industries Fair to plug his date on "County 
Chairman," with the exhibition taking place 
in the theare lobby and mezzanine. 

The title of the picture furnishing the in- 
spiration, Hayward secured the support of 
the local Chamber of Commerce and his 
newspapers, which by all means went to 
town on space to stimulate interest in the 
event. In fact, pages of stories and photos 
were planted, including shots of division 
manager A. M. Bowles, district manager 
N. O. Turner and, of course, Hayward. 

With the pledge of cooperation from the 
Chamber of Commerce, "C. G." went to his 
merchants, manufacturers and distributors, 
inviting them to exhibit free of charge, the 
only cost to them being newspaper advertis- 
ing. Generous responses were immediately 
forthcoming, the theatre benefiting by the 
resultant additional publicity in these dis- 
play ads. The newspapers were reported 
especially appreciative as many of the ex- 
hibitors were not regular advertisers, the 
extra revenues obtained being so much velvet. 

Hayward states the exhibition not only 
brought a lot of extra business on the date, 
but secured over 1,000 inches of free pub- 
licity. Aside from this, an incalculable 
amount of good will was obtained. 

"It has always been a paramount tenet of 
Fox West Coast Theatres," says Hayward, 
"that the local showhouse must become a 
part of the community in which it is located 
and it is for this reason that the stunt was 

Make 193 5 Your Award Year 

Grocers Help Cocks 
Sell "Imitation of Life" 

Dick Wright, Warner district manager, 
and Manager Harvey Cocks at the Strand, 
Akron, Ohio, tied up nearly every grocer in 
town with window posters on "Imitation of 
Life." Beauty parlor ads contained head 
cut of Colbert and plugged her hairdress 
with tiein copy. Synopsis of picture was 
given at the Women's Federation Club. 

Make 193 5 Yotn Award Year 


Counting today, sufficient time re- 
mains for managers who wish to for- 
ward an entry for the Quigley Feb- 
ruary competition. There are five 
days to deadline, midnight of Wed- 
nesday, March 6, by which time all 
campaigns must be at Headquarters, 
as already stated. 

Announcement of judges' decisions 
will be published in issue of March 16. 
All rulings and information on the 
Quigley Awards were run on page 69, 
Jan. 5 issue. 

Store Ties In with Gates 
On Movie Memory Contest 

Largest department store in Cleveland 
tied in with Arnold Gates at the Park, for 
four weeks, to put over a movie memory 
contest starting with his "Forsaking All 
Others" date. Each week photos of stars 
were placed on display in various depart- 
ments of the store. Each Friday six new 
photos were added bearing no information 
other than a number. Contestants were sup- 
posed to name the stars and the last two 
pictures in which they appeared. 

Store contributed prizes of electric re- 
frigerator, radio, washing machine and 
ironer. There were also 25 lesser consola- 
tion prizes also given by store. All displays, 
cards carried theatre copy. 

Boys distributed imprinted date books on 
street cars to passengers, inside page an- 
nouncing the month's shows. Four days 
ahead candles were planted in windows on 
the "how long will this candle burn" gag, 
with tickets to best guessers. 

Make 193 5 Your Award Year 

Weller Pitches "Barnum" 
Tent at Courthouse 

Bob Weller's unique street bally for 
"Barnum" at the Weller in Zanesville, Ohio, 
consisted of pitching a tent on the court- 
house sidewalk with circus spieler ballyhoo- 
ing Barnum's Invisible Fish. Inside tent 
was a washtub filled with water, painted 
around it was "see Wallace Beery" copy. 

Candy manufacturer tied in by distribut- 
ing lollypops in imprinted cellophane bags 
reading "There's a sucker born every min- 
ute, but not one like Blank's, for we're the 
best on the market." 

McManus Talks Before 
Kansas City Ladies' Club 

Johnny McManus, Midland Theatre, Kan- 
sas City, Mo., is one of our members who 
makes appearances before various clubs 
talking on the motion picture. More recently 
Johnny addressed the Ladies' Round Table 
Club and slyly injected his "Copperfield" 
plug in his speech. 

Two ushers were sent to schools explain- 
ing to principals the distribution of invita- 
tions to English teachers and librarians to 
view the picture. Teacher and pupil guides 
were made available for all schools and 
book reviewer talked before various clubs 
outlining highlights. Papers played up 
story of Freddie Bartholomew having been 
chosen from thousands to play part of Davey, 
and rotogravure sections carried photos. 

Make 193 5 Your Award Year 

VALENTINE WINDOW. Les Pollock. Roch- 
ester, Rochester, N. Y., arranged with local 
Western Union branches for this Valentine 
window display on "Clive of India". 



March 2. I 935 

Lawson Opens "Millions" 
With Ice Cream Tieup 

For the premiere of "Kid Millions" at 
the Pavilion, London, Robb Lawson, UA 
publicity director, effected a tieup with five 
and ten tying in the ice cream sequence in 
tiie picture with their soda fountain (see 
photo). Cantor cards with stills were hung 
at candy and ice cream counters in all 
Store's branches. 

Special cutouts of Cantor and other stars 
used in windows of leading music stores and 
cosmetic dealers plugged the picture in their 

Make 193 5 Your Award Year 

Crites Plants Live Duck 
In Window for "Rhythm" 

Arlie Crites, Rig Theatre, Borger, Texas, 
constructed a red duck house with white 
picket fence for his "Rhythm" date and 
secured permission from local druggist to 
plant the display with "Goo Goo" in front 

In classified ad section, Arlie ran teaser 
offering duck for sale by calling theatre 
number. Duck displays were used in cafes 
and cutout ducks were planted in downtown 
locations week prior. 

Make 193 5 Your Award Year 

Denson's "Caravan" Window 

A neat window display was effected by 
assistant V. S. Denson, Albany Theatre, 
Albany, Ga., on "Caravan" showing with 
five and ten plugging sale of towels with 
copy reading "We march on with our 'Cara- 
van' of bargains." Theatre card was con- 
spicuously displayed. 

Make 193 5 Your Award Year 

Saunders Sells "Copperfield" 
To School Authorities 

Matt Saunders, Poli Theatre, Bridgeport, 
Conn., secured a letter from local principals 
granting permission for the distribution of 
"David Copperfield" roto sheets on bulletin 
boards, study guides for English classes and 
book marks in class libraries of all schools. 

For his "Bright Eyes" date, Matt con- 
tacted local papers to sponsor a club for 
collection of toys for the poor. Theatre piled 
toys in lobby and distributed colored Tem- 
ple photos with theatre imprint to children 
who donated. 

Make 193 5 Your Award Year 

Hartman's Showmanship 

The accompanying photo shows what J. 
P. Hartman, Aster Theatre, Aberdeen, S. 
D., does without the aid of an artist. "J. 
P." has to depend on posters and accessories 
to sell his show and he finds the use of sixes, 
threes, ones, etc., etc., of inestimable value 
to get across his message. 

Make 193 5 Your Award Year 

Rotsky Holds Tea 
Party on Mezzanine 

George Rotsky, Palace, Montreal, Canada, 
in addition to holding tea parties on his 
mezzanine almost daily, at which promoted 
tea, biscuit and cigarettes are available went 
a little further with the idea on "Bright 
Eyes" when Shirley Temple cards were dis- 
tributed and person holding the lucky num- 
ber was entitled to promoted Rogers Silver 
Tea service. 

Ciggie manufacturer paid for the printing 

Fishkin's "Limehouse" Lobby Shanty 

Lawsoii's "Millions" Ice Cream Tieup 

Roy-Sniakowifz Advance Flash 

One of Hartman's Typical Fronts 

and distribution of numbered cards with 
his ad on one side and theatre plug on 
reverse with caution to hold card and bring 
it to theatre. Persons holding numbers 
corresponding to those read from theatre 
stage were entitled to tins of smokes. 

Roy and Smakowitz 
Sell "Imitation" 

On "Imitation of Life" Andy Roy, man- 
ager, and Charlie Smakowitz, advertising 
manager at the Strand, Albany, N. Y., con- 
tacted local Ford dealer, who came through 
with a parade of new bannered cars and dis- 
tributed heralds with tieup car and picture 

Accompanying illustration shows the ad- 
vance 30-foot lobby display, reported to 
have attracted considerable attention, as 
did the cutout of Colbert atop marquee. 
Press book shorthand notes for office girls 
were also used. 

Make 193 5 Your Award Year 

Builds "Limehouse" Lobby 

When Louie Fishkin, Alba Theatre, 
Brooklyn, N. Y., played "Limehouse Blues" 
for his lobby display he constructed an 
exact replica of a Limehouse shanty with 
shingled roof, sidewalk and all the trim- 
mings (see photo). Cutout heads of Raft, 
Wong and Parker were spotted strategically. 
Miniature lamppost carried out atmospheric 

Make 193 5 Your Award Year 

Lessons in Parachute Use 
Given for "Devil Dogs" 

Arthur Esberg at the Aztec in San An- 
tonio, Tex., secured the cooperation of 
Kelly Field officials for loan of aviation 
equipment on his "Devil Dog" date. One 
of the highlights of his campaign was dem- 
onstrations of the packing and unpacking of 
a parachute. 

Make 193 5 Your Award Year 

Davis' "Farewell Nites" 

Walter Davis at the Orpheum in Fort 
William, Canada, has inaugurated what he 
pleases to call "Farewell Nights," in which 
former hit pictures are shown at the finish 
of the regular program. Walter says he 
rents these revivals for very little and re- 
ports these nights profitable. 

On "County Chairman" Walt distributed 
rebus heralds offering tickets to first hun- 
dred youngsters deciphering the puzzle. 
Herald showed a last will and testament 
with a capital "R" next to it and five dashes. 
Below was drawn a county, a chair and a 
man. Solution was "Will Rogers, 'County 
Chairman.' " 

Make 193 5 Your Award Year 

Drissel Puts On "Barnum" 
Masquerade for Kiddies 

Tying in with toy department of local 
store, Roscoe Drissel, Loew's, Wilmington, 
Del., put over a "Barnum" kid matinee at 
which store offered prizes for best dressed 
Tom Thumb, his wife, a clown or Mickey 
and Minnie Mouse. Store devoted window 
display to toys and theatre copy. 

Roscoe also distributed "Barnum Was 
Right" cards, the gag being to ask a friend 
for a coin on receipt of which the "Barnum" 
card was presented to the sucker. Drissel 
reports the cashier was kept busy supplying 
patrons with additional cards. 

•Colored "Barnum" blotters were dis- 
tributed on which were photos of the Cardiff 
Giant and Mr. and Mrs. Tom Thumb with 
copy "you'll never be able to blot out the 
memory of Barnum, etc., etc." 

March 2 , 19 3 5 



Windisch Broadcasts 
"Devil Dog" Manoeuvers 

As a follow up soon after the opening of 
"Devil Dogs" at the New York Strand, Irv- 
ing Windisch, exploitation director, under 
the supervision of Harry Charnas, manag- 
ing director metropolitan theatres, had ample 
opportunity to display his versatility, when 
announcer scheduled to broadcast maneuvers 
of marine squadron flying over theatre to 
exploit picture failed to arrive. 

Irv stepped into the breach atop the 
Strand marquee and described to the gath- 
ered crowds the various formations, inter- 
spersing his talk with picture plugs. 

Make 193 J Your Award Year 

Weiss' Livestock Sells 
"College Rhythm" Bally 

An "animated" lobby bally was con- 
structed for "College Rhythm" by Bill 
Weiss, Capitol, Passaic, N. J., with six 
live ducks providing the motion. In fact, 
Weiss says that the quackers provided so 
much animation that they had to be re- 
strained to be kept in the pen with the cut- 
out Penner. 

Accompanying photo shows the birds do- 
ing their stuff and judging by the attitude 
of the one taking a peck at Penner, we think 
Bill got his fowls a little confused and put 
in a goose. 

Make 193 J Your Award Year 

Scott Endorses "Clive" 

To his entire mailing list, Sid Scott, 
Capitol, Windsor, Ont., Canada, sent a 
letter of personal endorsement on "Clive of 
India," assuring recipients that if they had 
enjoyed "Lives of a Lancer," he was sure 
they would find "Clive" equally as entertain- 
ing. Brief resume of picture followed. 

Make 193 J Your Award Year 

Wright's Benefit Plan 
Clicking in Akron 

The possibilities of the benefit ticket plan 
are being realized by Dick Wright, Warner 
Theatres Cleveland district manager, the 
details of which he forwards in a four-page 
pamphlet made up for Harvey Cocks' 
Theatre, in Akron, Ohio. 

"Raise Money the Strand Theatre Way" 
is the heading on front page, inside pages 
given over to the plan. Benefit tickets are 
good for any four days designated, and co- 
operating organizations are not required to 
put up any cash guarantee. A consignment 
contract is the only protection necessary, 
unsold tickets being returnable. 

Dick states that the benefit literature is 
going to 450 lodges, clubs and organizations. 
No doubt interested members can secure 
further information from Harvey Cocks, at 
the Strand, in Akron. 

Make 193 5 Your Award Year 

McWilliams Publicizes 
Rubinoff's Recital 

Round Tabler Harry McWilliams, now 
handling publicity for Rubinoff, was in Cin- 
cinnati recently to publicize the maestro's 
appearance there to conduct the Cincinnati 
Symphony Orchestra, and reports a rip- 
roaring welcome with a bevy of gals from 
the University at the station to greet the 
star. A fifty-piece band, new cars from 
dealers and local celebrities made up a 
parade to City Hall, where Dave received 
keys to the city. 

Weiss' Animated "Rhythm" Display 

Goldman's Shanghai "Moore" Premiere 

Robbins Plants Plane in Lobby 

Botwick's Quaint "Quints" Window 

Rubinoff's latest short was re-booked by 
all theatres and one of the highlights of 
the campaign was the promotion of an aero- 
plane that flew most popular University deb 
to surrounding cities, where she presented 
invitations to the mayors to attend the re- 
cital. Motorcycle escorts for the debby were 
provided from airports to mayors' ofiices 
with attendant publicity. 

Novel Radio Campaign 
Put Over by La Falce 

Frank La Falce, Warner exploitation 
chief in the Washington zone secured the 
cooperation of radio station to help plug 
liis "Bordertown" date. A few hundred 
local housewives were invited to attend the 
initial matinee and give their reactions to 
the picture. Questionnaire cards were dis- 
tributed asking if the picture had been cor- 
rectly titled and if not what title patrons 
would prefer instead. 

Make 193 5 Your Award Year 

Giant Moore Cutouts 
Highlight Shanghai Front 

Ed Goldman, assistant manager of Co- 
lumbia Films in Shanghai, China, forwards 
us the accompanying photo of the front of 
the Grand Theatre there for the gala open- 
ing of "One Night of Love." Giant cut- 
outs of Grace Moore atop marquee, illu- 
minated at night, were visible blocks away. 

Ed also arranged a tieup with radio store 
which devoted attractive window display to 
large poster of Miss Moore surrounded by 
stills from picture. 

Make 193 5 Your Award Year 

Robbins Plugs "Devil Dogs" 
With Real Plane in Lobby 

For his lobby display at the Warner The- 
atre in Youngstown, Ohio, Dave Robbins 
arranged for the transportation of a plane 
from nearby airport to his theatre (see 
photo), where it was assembled in the foyer 
as an advance plug on "Devil Dogs of the 
Air." Easel left of plane carried stills 
from picture with selling copy and play- 

Make 193 5 Your Award Year 

Botwick Sells the "Quints" 

Another example of an excellent window 
on the Dionne Quintuplets comes from 
Harry Botwick at the State in Portland, 
Maine (see photo), with layette, crib and 
trimmings. Harry also circularized all phy- 
sicians in town acquainting them of the date 
and took advantage of a snow storm to plant 
"quint" snow birds around town. 

Make 19 i 5 Your Award Year 

Frolicking Femmes Fall 
For Freeman's Flip Fotos 

G. E. Freeman, Poli's Theatre, Spring- 
field, Mass., says he was literally swamped 
for "extries" recently when he distributed 
flip books of Eddie Cantor in "Kid Mill- 
ions." Front of booklets showed the star's 
eyes with copy "the eyes have it" and back 
page carried theatre plug. 

Make 193 5 Your Award Year 

Jeweler Co-operates with 
Solomon on "Wiggs" Contest 

, Local jeweler came through with watches 
for a "Mrs. Wiggs" contest put over by 
Mark Solomon at the Embassy in Mt. Ver- 
non, N. Y. Boys and girls under fourteen 
were eligible and contestants had to come 
to the theatre, see the picture and then 
write a SO-word review. Watches were on 
display in the lobby with jeweler credit 

Recently Mark read an article giving 
some vital statistics on bundling, and en- 
larged these on heralds, back of which car- 
ried theatre "Pursuit of Happiness" copy. 



March 2.1935 


Other Salient Points Are Treated 
in the Second of Three Articles 
on Radio in Theatre Advertising 


Sales Promotion Director 
Famous Players - Canadian Corp. 

Generally speaking, radio is best adapted 
to first-run theatres, although there are some 
cases where subsequent-run theatres are 
using radio to good advantage. 

If the theatre depends on patronage from 
rural or outlying districts, radio can be very 
advantageous, particularly if these people 
generally read the new^spapers from some 
other large city rather than the local paper. 

There are cases of theatres using stations 
many miles away, but which cover the the- 
atre's town as well as the surrounding dis- 
trict, and in such case, regular daily an- 
nouncements can bring business to a theatre. 

In other cities which have local stations, 
but are better served by more popular sta- 
tions in other cities, it would not be good 
business to spend much money with the local 
stations, although in such cases, managers 
have often been quite successful in getting 
gratis time on the local stations. Even if 
these stations are not particularly popular, 
they do have a certain following and in this 
case, a series of broadcasts, if properly pub- 
licized, should build a following with benefit 
to the theatre. 

In cities where there may be only one 
local station, and out-of-town stations do not 
come in strong during the day, a day-time 
broadcast would probably be heard by a 
good percentage of potential radio listeners. 

In the larger cities there are usually sev- 
eral good local stations and an ingenious 
manager can find several ways of getting on 
the air in addition to any programs he may 
present of his own. 

How Much to Spend 

The amount that might be spent on radio 
is governed by the two factors of how much 
money is available for this medium and 
secondly, what will it cost to do a proper 
job ? It is not wise to jeopardize the the- 
atre's position with the newspapers by ob- 
viously diverting money from newspapers to 
radio. If the local stations are not as popu- 
lar as those in nearby larger cities, time on 
the local station can often be secured for 
a few passes or little money. 

Usually theatre managers have been able 
to get considerable free time or reductions 
from regular card rates. In other cases 
radio stations have clamped down on free 
time and also on programs sponsored by 
some commercial advertiser and which also 
include advertising of a theatre. Co-opera- 
tion has often been later obtained by paying 
for a certain amount of time, and then the 
stations have reciprocated by allowing extra 
free time and dual sponsorship. 

Unless there is some particular reason for 
using lesser station, such as a free time or 
to follow a very popular local program, it 
is common sense to use the best station. 
This does not necessarily mean the strong- 
est station, for a theatre is not interested 
in radio coverage beyond the zone from 
which it draws its patrons. 

The running time of the program obviously 
depends upon the type of broadcasts used. 

Spot announcements are best when made 
as brief as possible. Straight Hollywood 
Gossip programs should not run for more 
than 10 minutes at the most, unless broken 
up with music. Musical programs should 
run from 15 to- 30 minutes and here again, 
as in all cases, it is advisable not to spoil 
the programs by laying on the advertising 
with a trowel. Keep announcements brief 
and newsy. Dramatizations usually run for 
15 minutes and it is best not to exceed this. 
Most of the transcription recordings are 
made to run 13 minutes, allowing 1 minute 
on either end for theatre announcements. 
Don't try to pad out a program to cover any 
more time than can be filled with interesting 

What Time Is Best? 

The best hour for broadcasting depends 
on the type of program used. Spot an- 
nouncements are best when sandwiched be- 
tween popular programs or just before or 
after the meal hours. The middle of the 
morning or the middle of the afternoon are 
the best times to reach women, and from 
7:00 to 9:00 at night are the best times to 
reach the family. Obviously if putting on a 
15 or 30 minute program, no one would try 
to compete with popular outstanding pro- 

Equally obvious is the fact that it is not 
advisable to create your own opposition by 
spotting programs that might keep people 
away from the theatre, particularly in the 
evenings, although spot announcements and 
programs designed to reach people who are 
staying home anyway, are okay at such a 

For 15 to 30 minute musical programs 
the time of day is not as important as it is 
with dramatizations. With these talking 
skits the nature of the program again means 
that they should be put on at a time of day 
or night when people are able to sit down 
and concentrate on listening without dis- 
turbing influences. Probably the best hours 
would be from 9.30 to 11 :00 in the morning, 
from 2 :00 to 4 :30 in the afternoon, and from 
7:00 to 10:00 at night, preferably between 
7:00 and 8:00, so as not to conflict too 
much with theatre hours. 

For any series of programs, whether spots 
or full hour periods, it is necessary to come 
on the air regularly at the same time for 
each broadcast to get the fullest advantage. 

One unfortunate phase of all theatre ad- 
vertising is the fact that it is hard to check 
results and this is equally true of radio 
advertising. One way to find out if you 
have listeners is to announce that the first 
ten people calling a certain telephone num- 
ber will receive guest tickets. Another way 
is to offer the duotone "tinseled" auto- 
graphed pictures of stars to people who write 
or telephone, or call at the theatre for them. 

In the concluding article of this series will 
he details of some of the best radio exploi- 
tation tie-ups open to theatre managers. 


Recently, Manager Harry Creasey, 
Capitol-Kamloops, Canada, wrote to 
Gene Curtis, asking why press sheets 
did not carry radio announcements. 
Gene promptly passed the suggestion 
along to the various advertising heads, 
who immediately went for the idea. 

As a result, Charley Einfeld states 
that future Warner press books will 
include radio previews which can be 
used currently or in advance. Rodney 
Bush, of Paramount ; A. P. Waxman, 
of Gaumont British; Charley McCar- 
thy, of Fox, and Paid Gulick, of Uni- 
versal, also welcomed this slant, all 
extending their thanks to Creasey and 
stating that other constructive ideas 
from the field are invited and appre- 

Harry, take a bow! 

How They Exploited 
"We Live Again" 

Les Pollock, Loew's Rochester, Rochester, 
N. Y., tied in with leading department store 
for debutantes to model Anna Sten styles 
in cinema shop fashion parade. 

Book store used window display, silk im- 
printed book marks were distributed, and 
department store ad tied in with Anna Sten 
neckwear plug. Banners were hung on 
buildings around town (see photo). 

In Bridgeport, Conn. 

Russian priests were invited by Morris 
Rosenthal at the Majestic to attend a pre- 
view. Russian tack cards were posted in 
Polish districts. Morris inserted classified 
ad asking for loan of rouble, several were 
received from which cut was made for her- 
ald distribution in foreign neighborhoods, 
a stunt that clicked well for him. 

And in Boston, Mass. 

Joe Di Pesa, publicity director of the 
State, arranged with department stores for 
display of Russian styles, theatre mention, 
and easel of stills. Five and ten plugged 
Sten sundaes with all employees wearing 
imprinted silk badges. Imprinted paper nap- 
kins used in chain store restaurants; Lib- 
erty boys delivered copies with circulars 
enclosed. Radio dramatization given and 
fashion stills planted in newspapers by edi- 
tors of women's page. 

bollock's Banner on Building 

March 2 . 19 3 5 



1:30 lo 11:30 p. m. 



^^AClenil the Movies rpfiularly. In oo olber way can 
vou f:e< NO cliiNe lo life for so llllle/' 

Starting Time Cards for Hotels 

Hotel Lobby Easels 
Carry Starting Time 

Dick Wright, district manager Warner 
Theatres in Cleveland, Ohio, forwards the 
accompanying card showing how managers 
Frank Harpster and Bill Dworski in Mans- 
field, plug their shows' starting time on 
theatre stands in hotel lobby displays. 

Frank Harpster is also using small stick- 
ers with the "attend the movies regularly, 
etc., copy," which are placed on all mail to 
encourage the movie habit. 

Showmen 's 

All Fools Day 
Wallace Beery's Birthday 
U. S. Mint Established— 1792 
Washington Irving Born — 1783 
Leslie Howard's Birthday 
Elihu Yale Born— 1649 
Betty Davis" Birthday 
Spencer Tracy's Birthday 
War Declared with Germany — 

Peary Discovered North Pole — 

Battle of Appomattox — 1865 
Louisiana Admitted to Union 
Mary Pickford's Birthday 
Ponce de Leon Landed in 

Florida— 1513 
Walter Connelly's Birthday 
Surrender of General Lee 
George Arliss' Birthday 
William Booth (Founder of Sal- 
vation Army) Born — 1829 
Charles Evans Hughes Born 
Henry Clay Born— 1777 
Thomas Jefferson's Birthday — 

Palm Sunday 
Lee Tracy's Birthday 
Fifi Dorsay's Birthday 
Charlie Chaplin's Birthday 
Paul Revere's Famous Ride 
Good Friday 
May Robeson's Birthday 
Easter Sunday 
Rome Founded — 753 B.C. 
Queen Isabella Born — 1451 
Shakespeare Born — 1564 
War Declared with Spain 
Slavery Abolished in U. S. 
Morse (Telegrapher) Born 
Gen. U. S. Grant Born— 1822 
Lionel Barrymore's Birthday 
Daylight Saving Starts 
Washington Inaugurated — 1789 
Boston Settled— 1630 


I St 




1 0th 










Sam Abrams 

S. H. Horowitz 

Sidney Seckler 

Elmer Amidon 

Russell V. Hupp 

Edward 1. Selette 

Harry Black 

Charles Hyde 

J. Warren Sever 

Harold Biumenthal 

Johnny J. Jones 

Samuel L. Shafer 

George Bronson 

Milton L. Kaiser 

C. H. Simpson 

Bernard Buchanan 

Wm. E. Keating 

Frank B. Sitton 

Ralph Cokain 

Sumy Lando 

Warren A. Slee 

Archie Connolly 

Perry L. Lessy 

Lynn Smith 

V. M. Cummings 

W. C. Lewellen 

Samuel Sposato 

Cecil W. Curtis 

Jack Litto 

Harold C. Stanzier 

Samuel Daskalakis 

Otis V. Lloyd 

L. A. Stein 

R. W. Eberhard 

A. L. Lowenstein 

Don R. Stevenson 

John Elliott 

Richard J. Ludwig 

Bernie J. Stone 

Lee J. Euering 

Lloyd Murphy 

Earle Tate 

J. M. Ensor 

Bert Nix 

E. R. Toerpe 

Sidney Feder 

Roy L. Patterson 

Al Unger 

Stanley Foreman 

Leo Raelson 

Mrs. A. T. Waldron 

Eddie Forester 

W. Horace Reese 

Thomas Wall 

George Foster 

William Reiser 

Emory T. Warner 

H. B. Fox 

Norman C. Rolfe 

Abe P. Werbner 

Ralph C. Fretz 

Victor J. Rosen 

Alfred G. Wertin 

Saul L. Goldstein 

Joseph Rosenfield 

F. H. Whittemore 

Edgar B. Hands 

John A. Ryan, Jr. 

T. A. Williams 

Harold B. Harris 

Ray E. Salisbury 

Dick Wri:;ht 

Lou Hart 

Dave Schiller 

1. W. Wyte 

Sim E. Heller 

J. P. Schnitzer 

A! Zimbalist 

Fox Theatremen Effect 
Good-Will Buildups 

Cooperation extended to local police de- 
partments and schools is returning added 
prestige and publicity dividends for the Fox 
Florence Theatre of Los Angeles, accord- 
ing to Ed Hanley, of that house, who re- 
ports the recent activities of Manager J. D. 

An inspection of deputy sheriffs attached 
to that section of the city was held on the 
stage and photos of the event taken in the 
lobby were front paged, together with story 
which carried prominent mention of the 
theatre. Further good will was engendered 
by permitting graduating exercises of local 
junior high school to be held at the Fox 
Florence. Letters of appreciation were re- 
ceived by L'Esperance from the school prin- 
cipal expressing thanks of the board of 

To start off initial chapter of "Law of 
the Wild" serial, these showmen sponsored 
an old tire and junk battery matinee, pack- 
ing the house with interested youngsters and 
securing sufficient revenue from the "ad- 
missions" to make the gag more than pay 
its way as well as helping to clean up the 

Make 193 5 Your Award Year 

Henderson Promotes Ads 

A snappy ad and the distribution of no- 
cash heralds were promoted from local Ford 
dealers by Leo Henderson at the Idaho The- 
atre, Twin Falls, Idaho, on "Babbitt." Copy 
read "The unanimous choice of all 'Bab- 
bitts' is the new, etc., etc." Leo reports that 
the stunt worked very satisfactorily. 

Make 193 5 Your Award Year 

Loew Managers Win Prizes 
In "Transatlantic" Contest 

Results in the recent United Artists' ex- 
ploitation contest on "Transatlantic," as an- 
nounced by Hal Horne, find Milt Harris, 
of Loew's State, Cleveland, the winner of 
the first prize of $100; Lou Brown, of 
Loew's Fox, Washington, D. C, winner of 
second prize of $75, and Les Pollock, of 
Loew's Rochester, taking down third money, 
$50. Judges were Al Lichtman, Hal Horne, 
Harry Goetz and Edward Small. 

"Copperfield" Screening 
Helpful to Bill Decker 

Educators, heads of literary societies, 
teachers of English, etc., were guested by 
Bill Decker at the Cambria, Johnstown, Pa., 
at a special screening of "Copperfield," 
those invited doing a noble job of spreading 
the good word round town. 

Bill also hooked in to press book tieup 
with pen manufacturer with vacation trips 
offered for best "why I like" letters. Details 
via herald were distributed at all book and 
drug stores carrying that brand of pen. 
Decker further secured attention with the 
walking book bally. 

Make 193 5 Your Award Year 

Jack Personally Endorses 

Using the personal endorsement slant 
only when it really means something. Jack 
Johannsen at the Imperial, Augusta, Ga., 
spread himself a bit on what he thought of 
"Broadway Bill," as can be seen in accom- 
panying photo. Jack's front was decorated 
with standees of the stars and giant cut- 
outs of Loy and Baxter atop marquee. 

Johannsen's Personal Endorsement Display 



March 2. 193 5 


at the Capitol in Paris, Tenn., after a brief 
illness, is back in harness again. We are 
sure all his friends will be glad to hear it. 



has just joined the Garden Theatre, Mil- 
waukee, Wis., staff as assistant manager, 
in charge of exploitation and publicity. 



is publicity man for the Palace, Youngstown, 



is handling the advertising department of the 
Hamrick theatres in Seattle, Wash., follow- 
ing the resignation of JOE ROSENFIELD. 



is back at the Orpheum in Memphis, Tenn. 



has been named manager of the May fair 
Theatre in Seattle, Wash. SAM SAXE 
continues as general manager. 



has been promoted to manage the Hippo- 
drome in Springfield, Ohio. 



former newspaper man in Lima and Wil- 
mington, Ohio, has joined the Chakeres- 
Warner outfit as publicity director. 



formerly assistant manager at the Broadway 
Theatre, Fayetteville, N. C, has been pro- 
moted to manage that house. Congrats and 
good luck, Leon. 

Archie Clark, the Liberty, Horton, Kan., 
sends this. Background in light blue, head 
in shades oi yellow, brown and red, and all 
the lettering in metallics. 

To Mr. and Mrs. Al Dean a datighter 
JULIE MARGARET. Weight 71/2 
pounds and released at Doctors' Hos- 
pital, New York City, February 27th. 
Dad is Director of Publicity Para- 
mount International. 

daughter of Mr. and Mrs. Herman 
Bamberger, "released" February 6. 
Weight, 8 pounds; color, red; hair, 
black; eyes, blue; and lungs, swell. 
Which is the way Her matt at the 
Paramount, Springfield, Mass., ex- 
ploits his latest attraction. 



is managing the Imperian, Greensboro, N. C. 



has been transferred from the Mosholu, 
Bronx, N. Y., to the Tivoli, New York 
city nabe house. Lots of luck, Tom. 



manager Warners Sherman, Chillicothe, 
Ohio, has been transferred to the Ohio at 
Sidney exchanging posts with RAY AL- 
LISON, who is in charge of the Sherman. 



has reopened the Greenville, Greenville, Cal. 



has reopened the Roosevelt, Oakland, Cal. 



stopped in at Club headquarters to say hello 
and he was a mighty welcome visitor. 



has been transferred from the Roger Sher- 
man in New Haven, Conn, to the Colonial, 
Hartford, succeeding GEORGE BRON- 
SON, who has gone to the Warner house 
in East Liberty, Pa. 



has been transferred from the Pueblo, 

Pueblo, Colo, to the Kiva in Lincoln, Neb. 



will be in charge of the State Theatre, Kit- 
tanning, Pa. 



of the Marboro, Brooklyn, N. Y. stopped in 
to say hello on his return from a vacation 
in Miami. 


has resigned as manager of the Harris- 
Memorial in Pittsburgh, Pa. 



has opened a new house in Whiteville, 
Tenn., to add to his string. 



has leased the Empress, Grand Island, Neb. 



is managing the State in Canton, Ohio. 


of the State, Providence, R. I., is out on sick 
filling his place temporarily. 



now at the Prospect in the Bronx, N. Y. 



may now be found at the Capitol in Madi- 
son, Wis. 



is holding down the fort at the Plaza, San 
Diego, Cal., replacing J. O. LAMONT, 
who has gone to the Palace, Long Beach. 



is in Albany, N. Y., at the Regent Theatre. 



has been promoted to advertising manager 
of the Hamrick Theatres, Seattle, Wash. 

Eddie Burgess, artist for the Rex Theatre, 
Rapid City, So. Dak., is responsible for this 
caricatured poster of Will Rogers in 
"County Chairman". 

March 2. 1935 




Productions are listed according to the names of distributors in order that the exhibitor may have a short-cut towards such 
information as he may need, as well as information on pictures that are coming. Features now in work or completed for release 
later than the date of this issue are listed under "Coming Attractions." Running times are those supplied by the companies. 
Asterisk indicates running time as made known by West Coast studio before announcement by home office in New York. Varia- 
tions also may be due to local censorship deletions. Dates are 1934, unless otherwise specified. Letter in parentheses after 
title denotes audience classification of production: (A) Adult, (G) General. Numerals following audience classification are pro- 
duction numbers. 


Features Runnino Tim* 

Titl* star Rel. 0(te Mlnutei Ravlmd 

Fllhting TrMPcr, TIm Kermit Maynant Nov. 15 

NMihern Frontier Kermit Maynard Jan. I5,'35 

Coming Attractions 

nil Fiahting Blood Kermit Maynard July 26,'35 

fi«d Blood of Courage Kermit Maynard Apr. I7,'35 

Sandy of the Mounted Kermit Maynard Aug. 26,'35 

Timber War Kermit Maynard May 2I.'35 

Trails of the Wild Kermit Maynard Juno 26,'35 

Wilderness Mail Kermit Maynard Mar. I3,'35 





Curtain Fallt, TIm (A) Henrietta Crotman . Oot. 

Green Eyes (0) Charles Starrott-Shlrloy Or«y...Junt 

Sans of Steel S. Starrett • Polly Ann Young. .Dec. 

World Aecusses. Tb« Dickie Moore • Russell Hoptsn- 

Cora Sue Collins Nav. 

Cominff Attractions 

Clnumstanclal Evidence 

Death From A Distance 

Happiness C.O.D 

Shot In the Dark, A Charles Starrett -Marl on Shilling 

Running Time 
Rel. Dat* Minutes Ravlowed 


....67.... Oct. 



Carnival (Q) 
Fugitive Lady (A). 


Title Star 5. 

Against th« Law (A) John Mack Brown-Sally Blans...Oct. 

Behind th» Evidenta (B) Norman Foster-Sholla MaBBors...Jan. 

Beyond the Law (8) Tim McCoy-Shirley Grey July 

Best Man Wins, The (Q) J. Holt-Florence Rlce-E. Lews.. Jan. 

Braadway Bill (G> Warner Baxter-Myma Lay Doc. 

CapUIn HatM tha 8o« (0) ... Fred Keating - Wynne Gibson- 

Victor McLaglon-John Gilbert. .Oct. 

J. Durante - Lee Tracy - Sally 

Eilers - Floroncs Rica Feb. 

Neil Hamliton-Floreaca Rise — Oct. 

(See "In' the Cutting Room," Oct. 20.) . . _ 

Girl In Danger (A) Ralph Bellamy-Shirley Grey Aug. 

I'll Fix It Jack Holt-Mona Barria Oct. 

Jealousy <G) Nancy Carroll-Donald Cook Nov. 

Lady by Choice (G) Carole Lombard - May Robson • 

Walter Connolly-Roger Pryor...Oet. 

Law Beyond tha Range Tim McCoy-Blllle Seward Fob. 

Man's Game, A (G) Tim McCoy-Evelyn Knapp June 

Men of the Night (0) Bruce Cabot-Judlth Allen.. Nov. 

Mills of tbo Gods (Q) May Robson-Vletor Jory-Fa» 

Wray Deo. 

Prescott Kid Tim McCoy-Sheila Mannors Nov. 

Square Shooter (G) Tim McCoy Jao. 

(See "Ouick Sand" "In the Cutting Room," Nov. 17.) 

That's Gratitude (A) Frank Craven-Sheila Manners-. .Oct. 

Voice In the Night (Q) Tim MeCoy-Blllie Seward Apr. 

Westerner, The (G) Tim McCoy-Marian Shilling Dae. 

Whits Lies (A) Victor Jory-Fay Wray Nov. 

Running Time 
Data Minutes Reviewed 




..61... Dm. 
...57.. Feb. 2,'35 

...58 Dee. 2> 

...68.. Jan. S,'35 
.•105 Nov. 10 

22 '103. ...Oct. 27 

10,'Sl 75. Feb. 23. '35 

25 68 

2t 61 Dec. I 

15 69.... Nov. 17 

20 60 Dec. 15 

15 •«5....0ct. 6 

I5.'S8 58 

21 58 Oct. 20 

26 58 Dee. 8 

IS 67. Jan. ig,'S5 

8 56 

2I.'S5 57 



.Nov. 17 


Coming Attractions 

Black Room Mystery Boris Karloff 

Call to Arms (G) Wliiard Mack-Ben Lyon-Shella 

Mannors-Wora Engois 

(See "U tha Cutting Room," Nov. 3.) 

China Roars .■.■■••••-•Ui 

Devil's Cargo Marian Marsh-Wallace Ford War. 8,35 

(See "In the Cutting Room." Jan. 26.'35) 
Eight Bells Ann Sothern-Ralpb Bellaay 

(See "In the Cutting Room," Feb. 23, '35.) 

Feather In Her Hat, A 

Fighting Shadows Tim McCoy-Geneva Mitchell 

Frisco Fury Jack Holt 

Georgiana Ann Sothern 

GImpy Jack Holt-Mona Barrio Mar. 20.'35 

Girl Friend, The Lupe Velez-Jaek Haley 

Grand Exit 

Hot News Richard Cromweil-Bltlle Seward 

If You Could Only Cook Claudette Colbert 

I'll Love You Always Nancv Carroll-George Murphy. .. Mar. 29,'35 

(See "In the Cutting Room," Feb. 23, '35.) 
In Spite of Danger Florence Rice-Conrad Nagel Feb. 28,'35 

(See "Mistaken Identity" "In the Cutting Room," Jan. I8.'35) 

Lady Beware 

Let's Live Tonight Lilian Harvey-Tulllo CarmlnatI . . Mar. I,'35 

(See "Once A Gentleman" "In the Cutting Room," Dec. 29.) 

Maid of Honor 

On Wings of Song Grace Moore 

Party Wire Jean Arthur-Victor Jory 

Revenge Rider Tim MeCoy-Blllle Seward Mar. I8.'35 

(Seo "Alias John Law" "In the Cutting Room," Dec. 8.) 

Sure Fire Gene Raymond-Ann Sothern 

Whole Town's Talking, The (O).Edw. G. Robinson-Jean Arthur. .. Feb. 22,'35 '93. Jan. 28, '35 


Features Running Tl 

Title Star Rel. Date Minutes 

Blue Light (A) 5029 LenI RIefsnstahl Oct. 15 90. 

CranaueblMe 503S Doe. 15 

Girl In tha Case 3005 Jimmy Savo-Eddio Lambart- 

Dorothy Darling 80. 

Kseha, LuM Szannl* 5041 (Polish) Hn. 1 72. 

L'Aganle des Algles (A) 5032. Pierre Renoir Dae. 1 80. 

Man Who Changed His Name. 

Tha (A) 5088 Lyn Harding 65. 

Marie S04S Annabolla Jan. I.'SS 67. 

Old Bill 5038 Anatole France stsry Feb. I0,'35 70. 

Viennese Lave Song Maria Jerltza Fab. IS.'SS 72. 


. . . Do*. 



Comintf Attractions 

Lady of Camelias Y. Printemps-Pierre Fresnay.. 

World In Revatt Graham McNamee 


I. '35. 


(Releases Monogram, Liberty, Chesterfield and Invincible pictures In certain territories.) 
Title Star DIst'r Running Time 

Features Minutes Reviewed 

Conventlsn Olrl Rose Hobart Oct 31 

Flirtation Jeannette Lofl- 

Ben Alexander Nov. 9--i- -.i- „ 

Hoi Tiki (G) (All Native Cast) ... Principal Feb. I,'35.. .88. .Feb. 8,'35 

Little Damozel Anna Neagle ..Dee. I 

Return of Cbandu Maria Alba- 

Bela LugosI Principal Oct. 4 «A'"": 

WMt* Heal Virginia Cherrlll Ort. I 


Features Runing Time 

Title Star Rel. Date Minutes Reviewed 

Babbitt (G) 869 Aline MacMahon-Guy KIbbee. . . .Dec. 8 *75 Nov. 17 

British Agent (A) 751 Leslie Howard-Kay Francis. ... .Sept. IS 81 Aug. II 

FllrUtloB Walk (G) 752 Dick Powell ■ Ruby Keeler-Pat 

O'Brien Dee. 

Gentlemen Are Born (G) 872. Franchot Tone-Jean Mulr Nav. 

Happiness Ahead (G) 867 Dick Powell-J. Hutchinson ..Oet 27 

I Sell Anything (G) 873 Pat O'Brien - Ann Dvorak - 0. 

Dodd Oct 

Living On Velvet 856 Kay Francis - George Brant- 

Warren William Mar. 

(See "In the Cutting Room," Dec. 8.) 
Lost Lady, A (A) BK2 Barbara Stanwyck-Lyle Talbot-. .Sept. 29. 


...97....NtV. II 
..•75....0st. 20 
...88.... Sept. 22 

20 70....0eL 20 


Maybe It's Love (G) 876 Gloria Stuart-Ross Alexander Jan. 

Murder in the Clouds (G) 877.Lylo Talbot-Ann Dvorak Deo. 

Red Hot Tires 878 Lyio Talbot-Mary Astor Feb. 

Six Day Bike Rider rG) hk« . Joe E. Brown-Maxine Deylt Oct. 

Woman in Red, The (A) 863.. B. Stanwyck-Gene Raymond Feb. 

(See "Northshore" "In the Cutting Room," Dee. 8.) 


.Salt 8 

I2,'3S 62.... Nav. 24 

IS 61.. Jan. 8.'S5 


20 69. ...Nav. 10 


Coming Attractions 

Alibi Ike Joe E. Brown 

Black Fury (A) Paul Muni-Karen Marley 

(See "In the Cutting Room," Jan. I9,'35) 

Captain Blood Robert Donat-Jean Mulr 

Cass of the Curious Bride Warren William Apr. 13, '33 

Go Into Your Dance 853 Al Jolson-Ruby Keeler Apr. 20,'35 

(See "In the Cutting Room," Jan. I9,'35) 

Gold Diggers of 1935 (G) 851. Dick Powell-Gloria Stuart Mar. I6,'35 95 

In Caliente 856 Dolores Del Rio-Pat O'Brien 

(See "In the Cutting Room," Feb. 2, '35) 

Oil for the Lamps of China 867. . J. Hutchison-Pat O'Brien 

Singer of Naples Enrico Caruso, Jr 

Traveling Salesiday 870 Joan Blondell Apr. 6, '35 

Wanderlust 875 Aline MacMahon-Guy KIbbee Apr. 27, '35 

While the Patient Slept 874. ..Aline MacMahon-Guy KIbbee Mar. 9,'35 66. 

(See "in the Cutting Room," Dec. 29.) 



Title Star Rel. 

Baboona (G) 530 Mr. & Mrs. Martin laliuaa Feb. 

Bachelor of Arts (G) 520 Tom Brown-Anita Louisa Nov. 

(See "In the Cutting Room," Nov. 3.) 

Bright Eyes (G) 524 Shirley Temple-James Dunn Dec. 

Caravan (A) 508 Charles Boyer-Loretta Young- 
Jean Parkor Phillips Holmes.. .Oct. 

Charlie Chan In Paris (G) 526. Warner Oland Feb. 

County Chairman, Tha (G) 525. Will Rogers Jan. 

Dude Ranger, The (G) 507 George O'Brien Sept. 

Elinor Norton (A) 510 Claire Trevor • Norman Fester - 

Hugh Wllllams-G. Roland Nov. 

First World War, The (A) 519 Nov. 

Gambling (A) 512 George M. Cohan Nov. 

Great Hotel Murder (G) 522.. Edmund Lowe-Victor McLaglen. .Mar. 

Helldorado (G) 522 Richard Arlen-Madge Evans Dec, 

Hell In the Heavens (A) SI7.. Warner Baxter-C. Montenegra Nov. 

Judge Priest (G) 509 Will Rogers Sept. 

Little Colonel (G) 531 Shirley Temple-L. Barrymors Feb. 

Lottery Lover (G) 523 "Paf Paterson-Lew Ayres Jan. 

Love Time (G) 506 "Pat" Paterson-NHs Asther 8«pt. 

Marie Galante (A) 511 Spencer Tracy-KettI Galllan Oct. 

Music In the Air (G) 513 Gloria Swansea - John Boles • 

Douglass Montgomery Dee. 

Mystery Woman (G) 515 Mona Barrle-Gllbert Roland Jan. 

One More Spring (G) 529 Janet Gaynor-Warner Baxter Feb. 

Peck's Bad Boy (G) 516 Jackie Cooper-Thomas Melghan- 

Dorothy Peterson-Jackie SearL.Oct. 

Pursued (A) 502 Rosemary Ames-Victor Jory Aug. 

365 Nights In Hollywood (G) 
514 Alice Faye-James Dunn Oct. 

Under Pressure 521 Edmund Lowe-Victor McLaglen.. .Ju. 

(Reviewed under the title "Man Lock") 

When a Man's a Man 527 George O'Brien Feb. 

White Parade, The (G) 518... John Boles-Loretta Young Nov. 

Runing Time 
Date Minutes Rovlewei? 

8,'39 72Jan. 2a,'35 

23 74 





S. . 

I, '35. 








..83 Dec. IS 

.101.... Sept. 8 
.•70.. Jan. S.'SS 

..78 Dec. 29 

..65.... Sept. 22 

..72. ...Oct. 27 
..78. ...Nov. 17 
. 80. ..Dae. n 
.*70.Feb. 23,'35 

..74 Dec. 10 

..80. ...Nov. 3 
..79... Aug. IJ 
.•80. Feb. 16,'SS 
..82.. Feb. 9, '35 

..73 Nov. « 

..88 Nov. 24 

..81. ...Dae. 22 
..69. Jan. 28,'SS 
..90.. Feb. 9,'35 

..70.... Sept 8 
..68.... Nov. 24 

..74. ...Nov. 17 
.•65. Jan. IL'SS 


.OcL 27 

Coming Attractions 

Dante's Inferno Claire Trevor-Alice Faya 

Doubting Thomas Will Rogers 

George White's 1935 Scandals 

534 Alice Faye-James Dunn Mar. 8,'3S. 

(See "In the Cutting Room." Feb. 23, '35.) 

Heaven's Gate Shirley Temple 

It's a Small World Spencer Tracy-Wendy Barria , 

Life Begins at 40 533 Will Rogers Mar. 22,'35. 

(See "In the Cutting Room." Jan. 26,'35) 

Man Eating Tiger (tent.) Lew Ayres-Claire Trevor Mar. IS,'35. 

Redheads an Parade 536 J. Boles-Claire Trevor-Allee Fay 

Safe in Jail 

Secret Lives Gilbert Roland-Mona Barrie 

$10 Raise Edward Everett Norton 

Thunder In the Night 52* Warner Baxter- KeHI Galllan. . . . June 7,'S5. 



March 2. I 935 




Title Star 

Cliu Chin Chow (0) S40I Anna May Wono-Geerge Robay. 

Dictator, Tha (A) Clivo Brook 

Etensonu (A) 34U6 Evelyn Laye 

Ev«rgre«n (A) 3405 Jessia Matthew(-8oanla Hala.. 

Iron Duke, The (0 ) 3407 George Arli$> 

Jack Ahoy (0) 3404 Jack Hulberl 

Little Friend (At 3403 Nova Pilbeam-Matheson Lang.. 

Lover Divine Marta Eggerlh 

(Reviewe't under the title "UnflnUhed Symphony") 
Man Who Knew Too Much, The 

(G) Leslie Banks, Edna Best 

Man of Aran (A) Robert Flaherty 

My Heart Is Catling (G) Jan Kiepura 

My Song lor < uu Jan Kiepura 

Power (A) 3402 Conrad Veidt-Benlta Hume.... 

Prineeti Charming (G) 3408. .. Evelyn Laye-Henry Wllcoxon.. 


[Distributed through Chesterfield] 

Title Star 

Ohott Walks, Th* John Mll|an-June Collyer 

One In a Million (G).. Dorothy Wilson C. Starrett 

Port of Lost Oreama (0) V/m. Boyd Lola Lane 

Symphony fer Liviog Evelyn Brent, Al Shean 

Cominq Attractions 

Publle Opinion Lois Wilson-Shirley Grey 

Room and Board 

Running Time 
Rel. Date Minutes Reviewed 

Oct IS 95 Sept 29 

95. Feb. I6,"3S 

Dec. 15 82... Nov. i 

31 98... June 23 

'35 90 Dec. 22 

8.'3$ 70. Feb. IS.'35 

l« «8 . . .Oct. a 

Oct. IS 

. Dec, 




..80. ...Dee. 29 
..77 OeL 27 
. .90..F»b 2.'3.n 

Nov. 10 

103. ...OcL 13 

Running Time 
Rel. Date Minutes Reviewed 

. Dee. I 

.Sent IJ 66 Nov. 24 

.Oct. 15 68 Nov. 24 

.Jan. 20,U 75 



Title Star ReL Date 

No Ransom (A) 1004 Leila Hyama-Philllpc Holmes Oct. S. 

Once to Every Bacheler (A) 

1005 Marian Nlion-Nell HaraMtea Dm. 

Take the Stand (A) 1003 Jack LaRue Ttielma Todd SepL 

Two Heads on a Pille:? (A) 

1006 Neil Hamilton-Miriam Jordan Oct. 

When Strangers Meet 1002. ... Richard Cromwell-Ariine Judge. ..July 

Coming Attractions 

OI»y Dames M. Rambeau-Florlne McKlnaey 

I'll Bet Vou 

Old Homestead, The Mary Carlisle-Lawrence Gray 

Srhnol Fr>r GirU la) |007 Sidney fni Paul Kelly Mar. 22,'35. 

Sweepstake Annie (G) Marian Ni«on-Tom Brown 

Without Chlldien (A> 1008... .M. Cburchill-Bruce Cabot 

Running Time 






July 21 





.Oct. 13 

.8 1. Feb. 23/35 



Title Star 
Night Alarm (0 ) 805 Bruce Cabot-Judllh Allen-H. B. 

Warner - Fu/Jy Knight 

Perfect Clue, The (0) 812.... David Manners Dorothy Libaire-. 
Scarlet Letter, The (A) SOI. .Colleen Moore Hardle Albright- 

Henry B. Walthall 

She Had ta Cheese (Q) 504... Larry "Busirr" Crabbe-lsabel 

Jewell - Sally Blana 

Coming Attractions 

Mutiny Ahead Nell Hamllton-Katblaen Burka.. 

(See "In the Cutting Roeni." Jan. 26,'3S) 




Crimson Romance (A).... 

In Old Santa Fe (0) 

Little Men (0) 

Last Jungle, The (0)... 
Marines Are Coming, Tha. 

Running Time 

Rel. Date Minutes Reviewed 

(New York) 

.0*0. II 65 SepL 22 

*63....Da«. I 

Sept 14 70 July 14 

.SepL 14 8S....Aug. II 


...Ben Lyon-Sarl Marltza 

...Ken MaynardEvalyn Knapff.. 
...Erin 0°Brien-Mo«re-R. Morgan 

... Clyde Beatty 

William Halnes-Armlda 

Conrad Nagel Esther Ralstei.. 
Young and Beautiful (A) William Halnes-Judlth Allea... 

Coming Aitrnctinns 

Behind the Green LIghIa Norman Foster-Judith Allen.... 



Title Star 

Babe* In Toyland (0) Laurel and Hardy-C. Henry 

Barrattt of WIfflpela Btraat (A). Norma Shearer Charlee Laugb- 

ton-Fredrle March 

Band Plays On, Tha (0) Robt. Young-Betty Fumeas 

Biography af ■ Bachalar 
Girl (A) R. Montgomery-Ann Harding... 

Chained (A) Joan Crawford-Clark Gable 

David Copperfleld (Q) Frank Lawton ■ Freddie Bar- 
tholomew - W C. Fields - L. 
Barrymore- Edna M. Oliver... 

Death an the DIamand (fl).... Robert Young Madge Evans 

evelyn Prentice (A) William Powell-Myrna Ley 

forsaking Ail Others (A) Joan Crawford Clark Gable-. 

Robert Monlgomery 

Gay Bride, The (A) Carole Lombard Chester Merrli.. 

Have a Heart (0) Jean Parker . lames Ounn - 

Stuart Erwin - Una Merkel... 

Merry Widow. The (At Maurice Chevalier- J. MacDonald. 

Night is Young The (Q) Ramon Novarro Evelyn Laye 

Outcast Lady (A) Constance Brnnett - Herbert 

Marshall - Hugh Williams 

Painted Veil, Tha (A) Crete Garbo- Herbert Marshall- 
George Brent 

Seguala (0) Jean Parker- Rusiell Hardia 

Shadow of Doubt (G) Rlcardo Conei Virginia Bruea. . 

Society Deetor Chester Morrls-V. Bruee 

(Reviewed under the title "Only B Hours") 

Student Tour lO) Charles Butterworth- J. Durante. 

Treasure Island (G) Wallace Beery-Jackle Coeper- 

Lionel Berrymore-Otte Kruger. 

Vanessa, Her Love Story (A). Helen Hayes- Robt. Montgomery. 

Wn«i t»er» Mfsman Knowa (O ) . H elen Heyes-Brlen Aherne 

Wicked Weman (A) Mady Christlans-Chas. Biektord. 

WInnina Ticket. The (G) Leo Carrilio-L. Fa^enda 

Cnminrt AttrnctinnS 

After Office Hours (G) C. Bennett-Clark Gable 

Canine Murder Case .... Paul Lukas 

(See "In the Cutting Room." Feb. I6.'35.) 

China Seas Wallace Peery-Clark Gable 

Mark of the Vampire Lionel Barrymore 

Naueh'« Mari.ita l MaeDnxiiM Melson Eddy 

. (See "In the Cutting Room," Feb. 23,'35.) 


. Dec. 

^Nov. ' 

Running Time 


I . . 




67 . 




OcL 6 
Nov. 24 
Dee. 23 



Running Tiaa 
Rel. Date Minutes Reviewed 
Nev 30 79 Nav. 24 




...Aug. 4 



. .85. 

. . . Dee. 29 




. . . Dae. 29 




...Sept 1 



. 133 

Jan. l9.-tS 




. SepL 29 




..Nov. 3 

. 74 

..July 21 


ir !!!!'. 


. . . Dee. 8 




...Nav. 17 



. 82 

.-Oct. 27 




...SepL 8 


II, '38.. 


...Dae. 29 




...Sept 8 




.. Nov. 10 


I.'SJ . 

. 72 

Nav. 17 




Feb. 9,'35 


2S, Si... 


Jan. 12,'SS 




...Nov. 10 




iutv '» 



. .77 

Feb. 23,'35 




Oct li 

. Dec. 

7.. .. 


..Dee. 1 



. .70 

Jan. I9,'35 


22. 35.. 


Feb. I8,'35 


! Mar'.' 




Title Star 

Order Please Francnot Tone-Una Merkel.. 

Huuiic bnomi Na. 2 Charles Bultorwortb Apr. 19.'3S.. 

HacKioM iean Haciuw-wra. Pewell Apr. 5,'3S.. 

ibec "la ina Cutting Ream," Oee. 2lt.j 
rimas square Lady Robert Taylor Apr. I2,'3S.. 

(See "In the Cutting Room." Feb. I6,'35.) 

Typee Mala, Lotus Long 

Vauabond Lady Hubert Young-txiiyn Venable 

yyeoi f«ini ol the Air Wallace beory-HuDert Tauog Mar. I5,'3S.. 

(See "In me Cuning Room," Feb. 2, '35) 


Running Time 
Rel. Date Minutes Re«lg«g4 



Flirting With Danger (G) 3023 
Girl of (he Limberleel (8) 


Girl 0 My Dreams IQ) 3015 

Happy Landing iG) 3029 

Lawless Frontier tOl SUSS 

Lost In the Stratosphere (G) 


Man from Utah. The (0) 2044 
Million Dollar Baby (G) 

Monte Carlo Nights (A) 2024- . 
Mysterious Mr. Wong. The 

( A » 3022 

'Nealh An/ona Skies (G) S032 

Redhead (A) 3012 

Sing Sing Nighli (A) 

Sl«r Packer, The (G) 2041 . 
Successlul Failure. A (G) 3024 

Tomorrow's Youth 3021 

Trail Beyond, the (Gl 3031. 
Women Must Dress ((i) .... 


Robert Armstrong- Marlon Burna, 

Running Time 
Rel. Data Minutea Revlnred 
.Dee. 1 70.... Nav. 17 

Marian Marsh-Ralph Morgan Oct IS 86 Sept. I 

Mary Carlisle-Creighton Chaney..Nev. 17 65 Nav. 18 

Ray Walker- lacQueline Welle. .. .Sept I 63. Aug. 4 

John Wayne-Sheila Terry Nov. 22 54..Fak. XH 

June Collyer-William Cagney Nov. IS 64 Get. V 

John Wayne May IS SS 

Arilne Judge • Ray Walker • 

Jimmy Fay Jan. IS,'tl....*6S Dag. a 

Mary Brian-John Oarrow May 20 82 

Beia Lugosi -Wallace Ford Jan. 

John Wayne-Shella Terry Dee. 

Bruce Cabot Grace Bradley Nov. 

Conway Tearle-Mary Doran Dec. 

John Wayne-Verna Hlllle July 

Wm Collier, Sr. . Lucilla 
Gleason Oct 

John Wayne Feb. 

Dickie Moore - Martha Sleeper- 
John Miltan-Gloria Shea Sept 

John Wayne Verna Hitlie Oct 

Minna Gombeil-Gavin Gordon. .. Feb. 

2S.'SS 68. Jan. It.' 

5 52 Dae. 

I 76.. Sept 

IS 60 . Feb. 2.' 

30 54 



...62.. ..Oat 

15 63 

22 55.... Sept 

1,'SS 77. Jan. 28, 

Coining Attractions 

Cheese of the Crowd 

L>awii Hidei. 1 he John Wayne 

Desert Trail John Wayne-Mary Korhman Apr. 22,'3S. 

(See - in the Cutting Room," Feb. 23, '35.) 
Great God Gold Sidney BlacKmer-GlorIa Shea Apr. IS.'SB. 

iSee "in the Cutting Room," Dec. 15.) 

Healer, The 

Honeymoon Limited 

H*ni%t«i '^cnooimaviar. The 

Keeper of the Bees, The 

Mystery Man (Gl Robert Armstrong Apr. 2S,'SS. 

Nut Farm, The (G) Wallace Ford Mar.. 2S.'3S. 

Rainbow Valley John Wayne-Lucille Brown Mar. iS.'SS.. 

Reckless Romeos 3019 Robt. Armstrong-Wm. Cagney 

..62. Feb. I6,'35 
. BS .Feb. 9,'33 




Behold My Wife (A) 3419 
Belle of Ihe Nineties (A) 335S 
Claopeira (A) 3410 

College Rhythm (G) 3417... 

Enter Madame (Al 3414 

Father Brown, Detactlva (Q 

Star Rgl. 
.Sylvia SIdnay-Geng Rayinani . . , . Dee. 

. Mae West Segt 

Ciaudette Colbert-Henry Wll- 

coion-Warren Wllllan Oct 

Joe Penner-Lanny Ross Nov. 

Ellssa Landl-Cary Grant Jan. 

Running Time 
Data MInutec Review*'' 

7 79. Feb. 23,'35 

21 7S....Aun. ... 


2S .. 

.101. ...Ah*. SS 
.•83... .Na*. I* 
..83....N<v. S 

Gilded Lily. The (G) 3428.. 
Here Is My Heart (0) 3423.. 
Home on the Range (Gl 3421 

(Sea "Cede of the West" 

It's e Gilt IG) 3418 

Limehause Blues (A) 3415... 
Lives ol a Bengal Lancer (Q) 


Menace (A) 3413 

Mrs. wiggs of tha Cabbage 

Patch (0 ) 3407 

.Walter Connoiiy-Paul Luku- 

Gertrude Michael 

. C. Colbert-Fred MacMurray... 

. BIng Crosby-Kitty Carlisle 

.Jackie Coogan-Randolph Scott., 
"la the Ctttlag Room." Oct 27. 
. W. C Fields-Baby LeRoy.... 
.George Raft -Jean Parker 

.Gary Cooper-Franehat Tana.... 
. Paul Cavanagh 

.Paulina Lord - W. C. Fleldi • 
Zasu Pitts - Kent Taylor - 
Evelyn Venable 

.Joe Morrison- Helen Twelvetreet. 

.Arthur Byron-Janet Beeeher... 





21 •6S....Dgg. I 

2S.'SS....*80.Jan. I/U 

2S 78.... Dae. • 

21 SS 

30 68. ...Nat. t4 

1 86....0ag. 12 

■•.'SS 89. Jan. %,'U 

28 S8....agt It 

IS 72....Sa9t IB 

12 *6S....0at • 

l.'SS 63 

8.'SS....*70..Fab. t.'U 

l.'SS 75. Jan. lt.'U 

8 66. ...Sept 22 

.Oct I* 73....Aa|. 28 

One Hour Late (G) 3422 Joe Morrison- Helen Twelvetrees. . .Dee. 14 7S....Dee. 8 

President Vanishes (G) 3418. .Arthur Byron-Janet Beeeher Jan. II.'SS 83 Na*. M 

Pursuit of Happiness, The 

(Al 3409 Francis Lederer-Joan Bennett. .. .Nov. 

Ready for Love (G> 1412 Richard Arlen-lda Lupine Oct 

Rocky Mountain Mystery 3428. . R. Seott-Ches. "Chic" Sale Feb. 

ISee "Vanishing Pleoeer" "In the Cutting Room," Nov. 10.) 

Rumba (A> 3429 ...George Raft -Carole Lombard Feb. 

Wings in Ihe Dark (G) 3424.. Gary Grant-Myrna Ley Feb. 

Vou Belong to Me (0) S40S-..Lee Tracy-Helen Mack Sept 

C itmina Aitrnctinns 

All the King's Horses (G) 3430. Mary Elll«-Carl Rrletan Feb. 22,'SS... .'SS.Feb. 23,'35 

Car 99 (G) 3432 Fred MacMurray-Ann Sheridan.. .Mar. l.'35 •75. Fab. 16. "35 

Crusades. The Loretta Young-Henry Wllcoxon 

Devil Is a Woman. The (A) . . . Marlene Dietrich-Cesar Romero. . .Mar. IS.'SS 

(See "Caoriee Esgagnole," "In the Cutting Room," Nov, 17.) 
Four Hours To Kill Richard Barthelmess , ••••• 

(See "In the Cutting Room." Feb. 23, '35.) 
Hold Em Yale .. Patricia Ellis-Larry Crabba 

(See "It Ihe Cutting Room." Feb. I6,'3S.) 
How Am I Ooln'7 Mae West 

(See "In the Cutting Room," Feb. 23,'35.) 
Love in Bloom 3434 loe Morrison- DUIe Lee Mar. IS.'SS 

(See "Win or Lose" "In the Cutting Room," Jan. I2.'35.1 
McFadden's Flats Betty Furness-Rlchard Cromwell. . Mar. 22,'3S...,. 

(See "In (ho (Cutting Room." Jan. 2i>.'35) 

Wllkv w«v. Th. Jack Oakie-Adotphe Men|ou 

Mississippi 3433 Bing Crosby-Joan Bennett Mar. S.'SS 

iSie "lr> the Cuttino Room." ian I2.'35.> 

Once In a Biiie Moon 3425.. J Save Michael nalmatafT Mar. 22, '35 

Paris In Spring Tiitllo Carfnlnati - Mary Ellli 

(Sep "In th'! Cutting Room," Feh. 23. '35.) 

Pfoole Will Talk Chas. Ruggles-Mary Boland 

Private Worlds 3435 C Colbert 1 Rennett-C Bov«r...Mar. 29,'35 

Ruqgles of Red Gap (G) 3431 Chnries Laiiohton-Mary Boland- 

Chorle* Ruggles-Za2u Pitts Mar. 22,'35... .*9Q.Fab^ I6,'35 

Stolen Harmony ...George Raft Mar. 29, dD 

(See "In the Cutting Room." Feb. 2.) 


Features Running Time 

Title Star Rel. Date Minutes Revlatggd 

Little Oamorel 722 Anna Neaqlo-James Rennle June II 59 

Peek's Bad Boy (G) Jaritie Conner. Thomas Melghan- 

Dorothy Peterson-Jackie Searl..Oet It 70 Salt S 

Return of Chandu, Tha (Q).. 

300-312 Beta Lugosl-Marla Alba Oct 1 68 

March 2 , 19 3 5 






Till* star 

Atfmalurg Girl (0) 4I4S Joan Lowell 

At> 1 InnKHK*. Ida (A> i03. Ircna Uunnc-Joltn Bola> 

Aaaa •( Qma fiablai (G) SU/.Ann« Shirlfy-Tom Brawn 

By Vaur L<a«a (A) 508 Ganevleva Tobin- Frank Morgan.. 

Daaiarwii Cornar (A) tM...Melvyn Oouglas-Virainla Bruca- 

Cenrad Nagal 

.Fred Astaire-Glnger Roger*.... 
. Eddi* Bulllan-Betty Fumeit.... 

Running Tlma 
Ral. Data MInutea Ravlawed 

Aug. 17 7b Aug. if 

Seat. 14 82 S«»U a 

Nov. 23 79 Oct. 27 

Nov. a *80....0(t. 6 

Snr DIvartea. Tha (fi) SOS 
flrldlran Flaeb (0) 511.. 

Kaatucky Kernale (G) SOS. . . . Wheelar & Waoiiey 

Llgktalag Strikai Twlca (0) 

ti7 Ben Lyon-Pert Kelten 

(Sea "la tha Cutting Raam," Oct. 6.) 

Linia MInltter (G) 512 Katharine Hepburn-John Baal.. 

■ad Marning (A) SIS Steffi Ouna- Regit Toomey 

18m "Girl el (ka lilandt." "In the Cultlna Reem," Sagl. 
RaiMnta In Manhattan (Q) 516. Francis Ledarer -Ginger Roger*.. 

•liver Streak. Tha (G> 513 Sally Blane-Charle* Starrett.. 

Wadnaiday'* Child (G) 510. ..Karen Morley-Edward Arnold.. . 

Weil ef tha Peco* <G) SIS... Richard Oli-Martha Sleeper 

Waman In tha Dark (G) Fay Wray-Ralph Bellamy 

Coming Attractions 

Oct. s 

.Oct. IB.... 

.Oct 26.... 

.Nov. 2.... 

Da*. 7.... 

Da*. 28. . . . 

Da*. 14.... 

Jan. II.'SS. 

Dec. 21 

.Oct. 26 

Jan. 4.'3S. 

Nav. a 


..78.... Dec. I 
..72.... Dec. 8 
..69.... Sept 29 
..69. Jan. S,'3S 
..70. ...Da*. 8 

Baeky Sharp Miriam Hopkln* ~ 

Braak of Heart* K. Hepburn-Charles Boyer 

Captain Hurricane (G) James barton-Helen Wettley Mar. I.'SS. .. .*7S. Feb. I6,'3S 

Oep of Fiandera Frankie Thomas-Helen Parrlsb. . . Mar. 22,'35 

(See "In lha Cutting Room," Feb. 2. '35) 

Enthanted April, Tha (A) Ann Harding- Frank Morgan Feb, 1,35.... *78 Dee, IS 

Gigoletta Adrienne Ames-Ralph Bellamy. .. Feb. IS.'SS 

Grand Old Girl (G) SIB May Robson-Hale Hamilton Jan. I8.'35 72. Jan. I2.'35 

Laddia John Beal-Gloria Stuart Mar. 29.'35 

(See "In tha Cutting Room." Feb. 2. '33) 

Informer, The , Victor McLaglen-Margot Graham 

Murder on a Honeymoon (G) ...Edna May Uliver-l. Gleasoa Feb. 22,'35 *72..Feb. 2,'3S 

Roberta (G) Irene Dunne • Fred Aitalr* - 

Ginger Rogers Mar. 8,'35 *85.Feb. 23,'35 

Star of Midnight William Pnwpli-Glnger Roger*..... 

(See "In the Cutting Room." Feb. 23,'33.) 
Strangers All May Robson 

(See "In the Cutting Room," Feb. 23, '35.) 

Sylvestra Bennard Anne Shirley 

Village Tale Randolph Scott-Kay Johnson 




Ar* You • MaeanT (A). 
Battla, Tba 


J. Kandal. 

Calling AH Car* (G)..,. 

Cawboy Holiday (G) 

Duertar, Tha (A) 

Dealer* In Death (A)... 
Lit* In the Conga (G).. 
Lost City, The 


Man *f Caurag* (S).... 

Narah O'Neal* 


Tiakat T* A Crlma (8) 
War I* A Racket (A).. 
WaaiH C*fld*mn*4 


. .Sonnle Hale .. 

..Charles Beyer- 
Merle Oberon 

..Jack LaRua Empire Film*.. 

..Gig Boy William*. .Syndicate 

..Bori* LIvanov Garrison Film . 

Topical Film* . 

KInematrade .. 

, ,Wm. Boyd • Claudia 

Deil Regai Pictures. 

.Basil Rathbone ...Harold Autea . 


. Lester Matthew* 

.Ina Banlta Principal Film 

.Ralph Grave* Syndieala 

Eureka Pred... 

.Claudia Dell Marcy Picture*. 

Running Time 
Ret. Date Minute* Reviewed 
. ..OeL 28 85 Nov. 8 

...Nav. 12 75 Dee. I 

...Jan. 2S.'3S. ..67.Jan. 26,'3S 

...Jan, l,'35. ..57.Jan. 26,'3S 

..Oct. 12 IDS.... Oct. 27 

, ..De*. 13 68.... Dee. 22 

..Nov, 29 60. ...Dec. 29 

.Feb. i4,'35. ..74 

..Oct. 24 74 Nav. 8 

..Nov. 12 95....N*V. U 

..Oct. 24 66. ...Nav. S 

..De*. 1 65 De*. IS 

..Dte. IS 67.... Da*. 9 

..Dae. 8 68.... Da*. tB 

..Apr. 4 68 




Affair* of Ceilinl. Tha (A).... 

(Reviewed under the title 

Cllve of India (6) 

(.aunt of Monte Crista, Tha (G) 
Kid Million* (0) 

Last Gentleman, Tha (fi) 

Mighty Barnum. Th* (G) 

Our Daily Bread (0) 

Private Life af Don Juan, Tha. 

Runaway Queen 

Scarlet Pimpernel, The (G)... 
Trantatlantic Merry-Ge-Round 

W* Liv* Aiain (A) 


Fredrlc March-Centtanea Ben- 
nett-Frank Morgan-Fay Wray 

"The Firebrand") 
Ronald Colman-Loratta Young. . 
Robert Donat-Eilssa Landi.... 
Eddie Cantor - Ann Sothern - 

Ethel Merman 

George Arliss 

Wallace Beery ■ Adolpha Man- 

Jou-Janet Beecher-V. Brue*. 

Karen Morley-Tom Keen* 

Douglas Fairbanks, Sr.-Meria 


Anna Neagie-Fernand Graavay. 
Leslie Howard-Merle Oberon.., 

Gene Raymond-Nancy Carroll- 
Sydney Howard-Jack Benny... 
Anna Sten-Fredrit March 

Running Time 
Ral, Data Minute* Reviewed 

Aug. 24 79.... Apr. 21 

Jan, 2S,'SS... *90.Jan. 28,'35 
Sept 7 >li3....8ept. 8 

Dee. 28 *92....0et » 

Sept. 21 72. ...May 12 

Dm. 25 >i05....Daa, I 

Sept 28 74.... Aug. 18 

Nev. SO Sept 22 

Dee. 21 

Feb. IS.'35 95. Jan. 2S,'3S 

Nav, 2 92.... Na*. 17 

Nov. 18 •83.... Sept. It 

Coming Attractions 

Brewster's Million* 

Call of the Wild, Th*.. 

Cardinal Richelieu 

Canga Raid 

Foiies Bergere (G) 

Let Miserable* 

Nell Gwyn (A) 

Wedding Night, The (G) 


Jack Buchanan-Liii Damita 

C. Gable-Loretta Young May 6,'35... 

George Arliss Apr, 2I,'3S... 

Leslie Banks - Paul Robeaon - 

Nina Mae MacKlnney 

Maurice Chevaller-Merle Oberon.. Mar. 8,*35... 

Fredrlc Mareh-C. Laughton Mar. 22,'S5... 

Anna Neagle-Cedric Hardwieka. . Apr. S,'35.., 

Anna Sten-Gary Cooper Mar. 8.'S5... 

*85.Feb. 23,'35 
*90.Feb. 23.'35 


.Cesar Romero- Fay Wray. 



Cheating Cheater* (G) 8022. 
Embarrassing Moment* (G) 

7023 Chester Morris-Marian NIxen. 

CrImaon Trail. The 8083 Buck Jones 

Gift af Gab (G) 8030 Edmund Lowe - Gloria Stuart < 

Alice White 

Good Fairy. The (G) 8003.... 
Great Expectation* (G) 8029. 

Running Time 
Rel. Data Minute* Ravlawed 
.Nav. S 67. ...De*. tS 

..67. Jan. IB.'tS 

•107.... OeL 18 
..64. Jan. 2e,'3S 
..75.... Oct. 27 


.Dae. 22 

.July a.... 
.Fab. I8.'3S. 

. ..67..,.0«t. 


Margaret Sullavan-H. Marshall... 
Henry Hull-Jane Wyatt-Phltlips 


Ciaudette Colbart-W. WIfllaB.,. 
Chester MorrI* 

Imitation of Life (Q) 7003... 

I've Been Around (A) 8025 

Man Who Reclaimed Hi* Head 

(Q) 8028 Claude Raln*-Jean Bannatt 

■ Illlon Dollar Ranaam (A) 

8014 Mary Carlisle - Edward Amalti- 

Phliiips Holmes 

Myatary af Edwin Dread 8024.. Claude Ralna-Heatliar Anaal,.. 
(Saa "In th* Cuttlna Room," Dae. IS.) 

Sent 24 *7l....8ept. II 

Fab. 18,'SS 98.. Fab. e,'35 

.Oct, 22 102. ...Oct. 20 

,Nov, 26 ill Dee. I 

.De*. SI *7S....Dae. 2t 

Title Star 
Notorious Gentleman, A 8082. . Charles Bickford-Heien Vinson. 
One Eiclting Adventure (G) 

■027 Binnio Barnes-Nell Hamlltan- . 

Rendezvous at Midnight (A) 

8031 Ralph Bellamy 

(See "In the Cutting Room." Nov. 17.1 
Secret of the Chateau (G) 8U33. Claire Dodd-Clark William*... 
Straight from the Heart (A) 

8036 Mary Astor* Roger Pryor-Baby 


Strange Wive* (G) 8020 June Clayworth- Roger Pryor 

Rocky Rhodes (G) 8001 Buck Jones-Sheila Terry 

There'* Alwaya Tomorrow (A) 

8035 Frank Morgan-Elizabeth Youna- 

Lois Wllson-Blnnie Barnat... 
Wake Up and Dream (G) 8021. Russ Columbo - June Knight.... 
When a Man Sees Red (G) 8082. Buck Jones 

Running Time 
Rel. Date Minutes Reviewed 
.Jan. 2I,°85 "75. Jan. la.'SB 

.Oet. IS '73. ...Oct. 

Fab. II.'SS 

Dae. S 69.... Sept. 


Jan. 14,'SS •68.Feb. i6,'3S 

Dee. 10 75 Da*. 8 

Sapt. 24 60.... Dee. 21 

Sept. 10. 
Oct. I. 
Nov. 12. 

87. ...Nov. 17 

78.... Oet 28 

60. Jan. 2e.'35 

Coming Attractions 

Bride of Frankenstein 8009 Boris Kariolf Apr, S,'35 

(See "in the Cutting Room," Feb. i6,'3S.) 

Great Ziegfeld, The 8005 William Powell-Fanny Drica 

It Happened in New York 8023.Lyle Taibot-Heather Angel Mar. I8,'35 

(See "In the Cutting Room," Jan. 2G.'35) 

Life Returns 'Ri Onslow Stevens-Lois Wilson •60.Jan. I2.'3S 

Mister Dynamite 8012 Edmund Lowe-Esther Ralston. .. .Apr. I5,'35 

Night Life of the God* (G)... 

8008 Alan Mowbray Mar. II.'SS... .•75. Jan. I2.'SS 

Princes* O'Hara 8013 Jean Parker -Chester MorrI* Mar. 25,'35 

(See - In th« Cutting Room." Jan. 26.'S5» 

Stone of Silver Creek Buck Jones-Noei Francis 

Sing Me A Love Sono «026 

Transient Lady (G) 8019 Gene Raymond-Henry Hull Mar. 4.'3S... .*72. Feb. 23,'35 

Werewolf of London, The 8015.. Henry Hull Apr, 2U,'35 


.Da*. 14, 

•80.. ..Oat. t 

.Seat 17 67.... Sapt. 28 

Fab, 4.'8S 87 



Title Star Rel. 

Big-Hcarted Herbert (0 ) 830. .Guy Kibbee-Aiine MacMahon ....Oct 

Bordertown (A) e06 Paul Munl-Bette Oavi* Jan. 

Case of tha Howling Dog, The 

Church Mouse 881 Warren Wllilam-Mary A«tor Sept. 

Church Mouse Laura La Planta Dee. 

Dames (G) Ruby Keeler - Dick Powell - 

Joan Blendell Sept 

Desirable (A) 821 Jean Mulr-Gaorge Brent Sept 

Devil Dogs of the Air (G) 816. James (^gney- Pat O'Brien Feb. 

Firebird, The (A) 825 Verree Teasdale- Rlcardo Cort(l..Nev. 

Housewife (A) 478 George Brenl-Bette Davis Aug. 

i Am a Thief (G) 826 Mary Astor-Ricardo Cortei Nov. 

Kansas City Princess (G) 818. Joan Blondell-Glenda Farreil Oct 

Madame Ou Barry 'A) 452. .. Dolores Del Rio-Vlctor Jory Oct 

Right to Live (A) 828 George 6rent-J. Hutchlnean Jan. 

St. Louis Kid, The (G) 817.. James Cagney Nov. 

(Reviewed under the title, "A Perfect Week- End") 

Secret Bride, The (G) 8li B. Stanwyck - Warren William. -De*. 

Sweet Adeline iG) 802 Irene Dunne- Donald Wood* D**. 

Sweet Music (G) 805 Rudy Vailee-Ann Dvorak Feb. 

(gee "In the Cutting Room." Nov. 24.) 
White Cockatoo (G) 827 Jean Muir-Rlcarda Cartaz Jan. 

Coming Attractions 

Dinky Jackie Cooper-Mary Aator 

Florentine Dagger, The 829. . .Donald Woods-Margaret LIndany ..Mar. 80, 'SS. 
(See "in the Cutting Room." Jai.. 26,'35) 

Goose and the Gander Kay Francis-Georg* Brent 

Green Cat Bette Davis , 

Haircut George Brent-Jean Mulr , 

Irish In Us, The James Cagney-Pat O'Brien , 

Midsummer Night'* Dream... Ail Star 

Money Man Edw. G. Robinson-Batt* Oavl* 

Night at the Ritz. A 823 William Gargan-Palriela Elll*. ..Mar. 23, '35.. 

(bee -King ol the Ritz" "In the Cutting Room," Jan. 26,'35) 
Present from Margate, A Kay Francis-Ian Hunter 

Running Tlma 
Date Minutes Reviewed 

6 *6a....Aug. 25 

5,'35 90.. Fab, VU 


.Sept I 

I.. ......90.. ..Aug, 25 

8 68... Aug. 2S 

a, '35 86.. Feb. 9.'33 

3 •75.... Oct 13 

II 69....July 28 

24 64. ...Nov. 17 

13 64. ...Aug. 18 

13 77. Auo l« 

26,'SS 68. Feb. 23.'35 

10 67 Oct. M 

22 64.. Feb. 9,'3S 

29 '82.... Dee. It 

2S,'S5 95 

la.'SS 70. Jan. 26,'3S 


Features Running Time 

Title Star Oist'r Rel. Date Minutes Reviewed 

Bella Donna (A) Mary Ellis Gaumont-British 85. Jan. S.'SI 

Broken Melody, Tha John Garrlek- 

Merie Oberon Oet. SO 68 De*. I 

Chapavev (A) Amkino Jan. I2,'35. . .95. Jan. 26,'SS 

Cornflower Irene Agal Danubia Plcturaa. .Jan. II,'SS. ..80 

(Hungarian Dialogue) 

Czar Wants to Slara (A)..M, Yanshin Amkina D**, 8 88. ...Dae. 21 

Death at Broadcaatlna 

Dirty Work (G) Ralph Lynn Gaumont-British 80. Jan. 26,'3S 

Forbidden Territory, The. .. Gregory Ratoff Gaumont-British 87 Nov. 24 

House Ian nuntet AdI-u Bniisn 90. Jan. I2,'35 

Doctor's Order* Leslie Fuller British Int'l 75. Jan. S,'U 

Everything for the Woman. Tiber Von Haimay.. Danubia Picture* ..Oct. 10 84 

(Hungarian Dialogue) 

Fathers Knows Best Szoka Szakall Danubia Picture*. .Jan. I8,'9S. ..80 

(Hungarian Dialogue) 

Green Pack John Stuart British Lion No*. S 

House of Greed V. Gardin Amkino Aug. II 74 

Lady in Danger (A) Tom Walls Gaumont-British 63 Dec. 29 

Lorna Doone (G) John Loder ABFD British.. 80. .Feb. 2,'35 

Madame Bavary (A) Pierre Renoir lohn Tapernoux. . .Nov, 17 100 D*«. f 

Marionettea L. Leonldoff Amkino May 5 S3 

Miracles V. Gardin Amkino Oet. 19 68 

Mister Cindar* CiifTord Moliison ...British Int'l Nov. It 

My Wife the Ml** Irene Agal- 

(Hungarlan Dialogue) Paul Javor Danubia Picture* . .Aug. 26 79 

My Song Goes Round the 

World (G) John l,oder Oet 20 

Old Curiosity Shop, Elaine Benson Assoc. British 85.. Feb. 2,'3S 

One Night Ingert BJuggren Scandinavian 80. .Feb. 9,'35 

Petersburg Nl«ht» (A> B. Dobrnn Ravov. .. Amkino Sept. 8 97... Sept 21 

Phantom Light, The (G)... Gordon Harker Gaumont-British 75. .Feb. 9,'35 

Radio Parade of 1935 Will Hay- 
Helen Chandler. ... Assoc. British 85. .Jan. I2,'3S 

Rakoczl March Paul Javor Danubia Pictures. .Nov. 12 89 

(Hungarian nialogua) 

Roadhouse (G) Violet Loraine Gaumont-British...,. 75 Dee, 

Shepherdess'^ Sweetheart ..(Greek Feature) ...Frank Norton.,,. 

Stella Bioiantl (Greek Feature) 

Such Is Lite (Greek Feature) . 

Ta Galazia Keria (Greek Feature) 

Ten Minute Alibi (A) Phillips Holme*.. 

Three Sonos About Lenin 

They Are Looking Up (G). Cicely Courtneldge. 

Thunderstorm (A) A. K. Tarasova . . , 

Waltz Time In Vienna Renate Mueller 

Victor and Victoria (G)... Renate Mueller .., 
Wandering Jew, Tha (A).. Conrad Veidt Olympic Picture*. 


.Frank Norton ....Oct, 

.Frank Norton Jan. 

.Frank Norton ....Oet 

. British Lion 

Amkino Nov, 8 


. Amkina Sept 28 

. Ufa 



15 IIS. 

I9.'3S. .119. 
IS 85. 

.80.. Feb. 9,'S5 
. 64.. Nov. 17 
too. Feb. a,'SS 

..80 Oct a 

.Dee I 

.Jan, 2«,'35. .84 . Feb. 2.'3S 
83. J an. I9,'35 



March 2 . 19 3 5 

(THE CHAI3T"C€NT»i:)) 


lAll dates are 1934 unless 
otherwise stated} 


TitI* R«l. Date MlB. 


lack and lh« Bunttalk Jan. 2 • 

Th« LIttU R*d Hn Fab. 16 7 

Tba Bra«« TIa Saldlar Apr. 7 7.... 

Pin* la Baatt May 17 1 rl.. 

Tba Quaaai af Haarta Juna 25 7.... 

Aladdin Aui. 10 7.... 

Tba Hradlati Hana«aa....Oet I Irl.. 

Tba Vallaat Tallar Oit. 2t Iri.. 

Dan Qulxola Nav. 2S S.... 

Ja*k Fra(t Da*. 24 

LIttIa Black Samba Jan. 2I.'SS..I rl.. 

Braaan Tewa Moil*laH*....F*b. I7.'SS..I ri.. 

Old Methar Hubbard Mar. I7,'3S..I rl.. 

Mary'* Linia Lanb A»r. I4.'39..l ri.. 

Ral. Data 



TItl* R«l. 

Cauaid en Da Ftnca Oct. 

Harry Langdon 
HI* Old Flam* Jan. 

Charll* Murray 
Har>« Collar* Jan. 

(3 Stsoge*) 
I'm A Fathar Feb. 

Andy Clyd* 
In tha 0*8 H*u** Da*. 

Andy Clyd* 
It'* the Cat'* Oct. 

Andy Clyde 
Men In Black Sejit 

(3 Stooge*) 
One Too Many Dee. 

Leon Errol 
Perfectly Mismated Nov. 

Leon Errol 
Restless Knight* Feb. 

(3 Stooges) 
Shiver* Dee. 

Harry Langdon 
Three Little Pigskin* Dec. 

(Stooge Comedy) 



A Cat, A Bell and M*u>* 

Babes at Sea Dee. 

Holiday Land Nov. 

Make Believe Revu*. Th*...Mar. 
Shoemaker and the Elves... Jan. 



1. The Tragez* Artist Sept. 

2. Katnlps of IS40 Oct. 

S. Krazy'* Waterloo Nov. 

4. Birdman Feb. 

L.Hotcha Melody Mar. 

t. Go*ly Gondolas Dec. 


I — Among th* Latin* Aug. 

Laughing With Madbury 

In th* Arttic* Sept. 

In Maylaala Oct 

Among th* Caeean* Nov. 

At a County Fair De*. 

Madbury in Hollywead Jan. 

In the Old Day* Feb. 



No. I — Sept. 

Ne. 2— Oct. 

Mo. 3— Nov. 

No. 4 — Dec. 

Ns. 5— . Jan. 

No. 6— Feb. 

N*. 7— Trlaplni Thrangb 

th* Trap!** July 


Gloom Chaser*. Th* Jan. 

Happy Buttarfly D**. 

Scrappy's Eiperlmant 

S*rappy's Gbett 


Concert Kid Nov. 

Gold Gttter* Mar. 

Graduation Evertlse* 


No. I— Sept. 

No. 2— Oct. 

No. 3— Nov. 

No. 4 — Dec. 

No. ^— Jan. 

No. 6— Feb. 



No. I— Sept. 

No. 2— Sept. 

No. 3 — Dee. 

No. 4— Dee. 

No. 5 — Jan. 

No. 6 — Mar. 


Anything tor a Thrill 

Decks Awash Aug. 

Helgh-Ho the Fox June 


Air Thrills Mar. 

Good Golfers Start Young.. Sent. 

Pardon My Grip ....Feb. 

Polo Thrills Oct. 

Thrill Flashes Dec. 

When Men Fight Jan. 

Date MIn. 

25. ...20.... 


.20. . . . 
24.... 20.... 




9 7... 


1 7... 

12 7... 

16 7... 


21 7... 

.1 ri.. 

15. ...10... 
20. ...10... 

9 10... 

7. ...10... 

19... .10.. 
12. ...10.. 

9 10.. 

12. ...10.. 

I. '35. 10. . 


.2 ri*. 


20 7... 


2 7.... 


29.... 10'/,. 

21. .101/,. 

22, '35.I0, . , 

10.. ..10... 
13.. ..10... 
31. .10... 
20,'35.I0. . . 

.1 ri. 
.1 ri. 

1/35. 10. . . 
20 .10... 


I? in... 

12. ...10... 


Rel. Date 



1. Veiled Dancer et Eleued.Juty IS 10. 

2. Vampire ef Marrakeeh. . .Aug. 1 1. 





Bride of Samoa Mar. I 

Chump Nov. I 

Frankia and Johnny Oct. I S.... 

Charle* Laughton 

Mire Unga Aug. 15 • 

Pritener Sept. IS. . . .IS. . . . 

Retribution of Clyde Bar- 
row and Bonnie Parker. ..July 10. ...20.... 

Star* In tha Making Oct. I 17.... 

Frank Albertson 

Sword of the Arab, Sept. IS... .28.... 

Duncan Renaldo 

Yokel Dog Make* aeed....S*pt. I IS.... 


[Distributed through Fox Films] 

Title Rel. Data Mia. 


1 — I Surrender Dear Aug. 

2 — One More Chance Aug. 

3— Billboard OIri Oct. 

4 — Dream Heuea Sapl. 


An Ear For Mu*l* Mar. 

Easy Money Feb. 

Helle, Sailor* Aug. 

Rural Romeo* Nov. 

Second Hand Hucbaad Oct. 

Supar-Stupid Sept. 

Two Lame Duck* Nov. 


Boosting Dad ...Dee. 

Campus Hoofer, The Nov. 

Educating Papa Nov. 

Little Big Top, The Feb. 



Domestic Bli**-Tert Oct. 

Dumb Luck ....Jan. 

How Am I Doing? Jan. 


Big Business Dec. 

Girl from Paradise, The... Nov. 
Good Luck — Best WIshe*. . . Aug. 

Nifty Nurses Oct. 

She's My Lilly Sept. 


Blue and the Gray, The Mar. 

Bounding Main, Th* Nov. 

Gay Old Days Jan. 

House Where I Was Born, 

The Oct. 

I Smell Smoke Apr. 

Mountain Melody Aug. 

Song Plugger Jan. 

Time on Their Hand* Sept. 

Way Down Yonder Dec. 


Dog-Gone Babies July 



Gentlemen of the Bar Dec. 

Hayseed Romance Mar. 

His Lucky Day Sept. 

Mr. Widget Jan. 

Object Not Matrimony Mar. 

One-Run Elmer Feb. 

Palooka From Padueah Jan. 


Black Sheep, The Oct. 

Bull Fight, The Feb. 

Rusted Blossom* Aug. 

Dog Show, The Dec. 

Fireman Save My Child Feb. 

First Snow. The Jan. 

Five Puplets May 

Flying Oil Apr. 

Hot Sands Nov. 

Jack's Shack Nov. 

Jail Birds Sept. 

Magic Fish. The Oct. 

Mice In Council Aug. 

Modern Red Riding Hood, 

A May 

Moth and the Spider. Tbe. .Mar. 

My Lady's Garden July 

Old Dog Tray Mar. 

Peg Leg Pete, the Pirate. ..Apr. 

South Pole or Bust Dec. 

Tom Tom the Piper** Sen.. Nov. 

What A Night Jan. 

Why Mules Leave Heme Sept. 


Wrong Bottle. The July 


Chums Mar. 

Harlem Harmony Dee. 

Hollywood Gad-About Oct. 

Hollywood Movie Parade, 

The Nov. 

Then Came the Yawn Aug. 

Your Stars for 1935 Oct. 


It Never Rains Mar. 

Moon Over Manhattan Feb. 

Three Cheers for Leva Dec. 

3.... 22.... 
SI. ...20.... 

5. ...21.... 
28.... IS.... 

8,'35..2 ris. 

17. ...20.... 
16. ...20.... 

26. ...II 

14. ...I*.... 
SO. ...IS.... 

2. ...16.... 

12.. ..II... 

7. ...19... 

23. ...21... 

24 21 ... 

19. ...20... 
7.... 22... 

I5,'35..l ri. 

IB 10... 


26 .10... 
I2,'35. . I ri. 

31 10... 

I8.'35. .9... 
14.. .11... 
7....II ... 

6. ...20.. 

28. .18 

15, '35. .2 rIs. 

21... 20 

I, '35. . 2 ris. 



5 8.... 

8,'35..l ri.. 
10 6.... 

28> • • • aS* ••• 

22,'35..l ri.. 
I7,'35..l ri.. 

S,'35..l ri.. 

2 1.... 

90 8.... 

21 8.... 

19 8.... 

24 8.... 

3,'35..l ri.. 

8, '35.. I ri. 
IS I. ... 

19/35.. I ri.. 

14 6.... 

18 8.... 



IS. ...18... 

I.'35. .1 ri. 
21. ...10... 
5 1... 

2 9.. 

10 1.. 


29.'35..l ri. 
15, '35. 17... 
14. ...19... 



1. In a Monastery Garden.. Oct. 2 7. 

2. Mexlean Idyl Oct. 16 

3. Flngal's Cava Nov. 13 

4. Llebentraum Nov. 3 

5. Dance of the Hour* Dec. 15 

6. Ava Maria Jan. 1/35 

Barcarolle 8. 

Irish Melody 8. 

Italian Caprice 8. 

Old Faithful Speaks 8. 

Mediterranean Songs 



Title Rel. Date 



Man's Mania for Speed 10 

Marching With Science 9 

On Foreign Service I.... 

Casting for Luck... 10.... 



The Coast of Catalonia a 

Title Ral. Date Hla. 

PItturasqu* P*rtu|al I.... 

Cro**road* of the World I 

Geneva-By The-Lake 10.... 

Tbe Heart af Valeeka Mar. I.... IS.... 


Ral. DaU 

I In. 





1. Reaievelt Family in 

2. A Vl*lt to W**t Paint 10 

3. Carrie Jatob* Bond I.... 


Fl*ld* and MeHugb I.... 

What'* In a Name S.... 

Irvini Kaufman-Lav White 


Take a Latter Pleaaa 

Eddie SUnley- 
Evelyn San 


Title Rel. Date Mis. 


Caretaker'* Daughter Mar. 10 II.... 

Movie Daze II.... 

Mr*. Barnacle Bill Apr. 21 20 

No. I— Buried Loot 19 


Chases of Pimple Street. ... Dee. 22.... 20 

Fate'* Fathead Nov. 17.... 18.... 

I'll Taka Vanilla May 5.... II.... 

It Happened One Day July 7.... 10.... 

Something Simple Sept. 8 18 

You Said A Hatful Oct. 13.. ..19 


Ballad of Padueah Jail Oct. 20... 

Nosed Out Sept 15. 

Speaking of Relations 

You Bring the Duck* Nov. 24 16. 



Africa, Land of Contra*t .....I 

Citadels of the 

Mediterranean I rl. . 

Colorful Ports of Call Jan. 13 0.... 

Cruising in (he South Sea* I rl.. 

Glimpses of Erin I rl.. 

Holland in Tulip Time Sept. 15 9.... 

Ireland, The Emerald Isle.. Dec. 8 8 

Rainbow Canyon Feb. 2,'35..8 

Switzerland, The Beautiful. .Oct. 13 9 

Temple of Love, The 10.... 

Tibet, Land of Isolation. ..Mar. 17 1 

Zealand. The Hidden 

Paradise Jan. 5,'35..7.... 

Zion, Canyon of Color Nov. 10 8 


Ne. 4 May 9 1.... 

No. 5 1.... 

Ne. 6 Iri.. 

No. 7 Sent 8. ...10.... 

No. 8 Oet 6 1.... 

Ne. 9 Nov. S 10 

Ne. 10 10.... 


1 — The Discontented Canary. Sept. 

2 — Old Pioneer Sept 

3— A Tale ef the Vienna 
Wood* Oct. 

4 — Besco's Parier Prank*.. .Nov. 

5 — Teyland Broadcast ..Dae. 

6 — Hey. Hey, Fever Jan. 

7— When the Cat'* Away. . . Feb. 


Going Byo-Bya 

Live Ghost* 

Them Thar Hill* 

Tit for Tat Jan. 


Musle In Yaur Hair June 

Roamin' Vandal* Apr. 


Gentlemen of Pelleb 

Grandfather'* Clock Oct. 

Spectacle Maker, The Sept 

Star Night at the Coteannt 

Grove Dec. 

What Price JazzT 


Attention, Suekerat June 

Darimouth Days Nov. 

Donkey Baieball 

Motorcycle Conaek* Jan. 

Little Feller May 

Old Shop June 

PlehlannI Troupe Sept 

Pre Football 

Rugby Dee. 

Strikes and Spare* Oct. 

Taking Care of Baby Aug. 

Trick Golf Mar. 

Vital Victuals Mar. 




Mama's Little Pirate Nov. 

Shrimps for a Day 

Mike Fright Aug. 

Wash-ee Iron-** Sept. 


Bum Voyage Dee. 

Done In Oil Nov. 

I'll Be Suing You June 

Maid In Hollywood May 

One Horse Farmer* Sept. 

Opened by Mistake Oct. 

Sing, Sister Sing! 

Three Chumns Ahead 

Tin Man, The 

Treasure Blues 


27 1. 

24 •. 

22 8. 

16/35.. 9. 





2.... 17. 
28. ...18. 






17. ...II. 



28 8. 

23 1. 

22 9. 


15. ...10. 

20 1. 

25 9. 

24 8. 

8. ...10. 


3. ...18. 

21 . 

25. ...18. 
29. ...17. 

15. ...20. 
10. ...IS. 
23. ...19. 
If. ...20. 

I. ...18. 

6. ...19. 





TItl* R*l. Date M 


Cava Man 7.. 

Good Stout 7.. 

Ineultin' th* Snltna Air. 14 •.. 

Jungle Jitter* 7.. 

Raselln' Round 

Reducing Crem* May II •., 

Robin Head. Jr. Mar. 10 S. 


Viva WiUia r. 



10. Dravidian Olamaur ....Sept I. 

11. Adventure l*la Oet I. 

12. Qufen at tha India*. ...Nov. I. 

13. A Mediterranean Maeea.Dae. I. 


Ral. DaU 




I Itia 

b>:tty boop 

Baby Be Oood Jan. I8.'»l. 

Beity Beep'* LIf* Guard.. .July 13.... 

Betty Boap'a Life Pal Sept 21.... 

Betty Boop'* Prize Sb«v...0et II.... 
Betty Boop'* Rli* ta Fame. May IS.... 

Betty Boop'* Trial Jun* IS.... 

Stop That Nolta Mar. 15/35. 

Taking the Blame Feb. 15/39. 

Keep in Style Nov. II 

There's Somethini About ■ 

Soldier Au|. 17 

When My Ship Come* U...Dee. 21.... 

An Elephant Never Foriatt.De*. 21.... 

Little Dutch Mill Oct 26.... 

Poor Cinderella Aug. 3 

Song of the Bird* Mar. 1/35. 


Cab Calloway'* HI-D*-Ha..Ang. 24 

Feminine Rhythm Feb. 8/35. 

Ina Ray Hutton and Her 


Club Continental Oet 9.... 

Leon Belasco Sl Orehe*- 

tra - Geo. Givot - Vivian 

Janis-Graee Barry 
Hollywood Rhythm Nov. 18 

Gordon and Revel - Lyda 

Roberti - Jack Oakle - 

Norman Taurog - LeRoy 

Prlnz ■ Edith and Bill 


Ladies That Play Da*. 7... 

Phil Spitalny and HI* 

Musical Ladies 

Melody Magic Mar. 22.'39 

Million Dollar Note* Feb. 8,'35 

Red Nichols and hl> World 

Famous Pennie* 
Radio Announcer'* R*vi*w. .Sept 14. . . 
Rhythm on th* Roof Oct 28 

Anson Week* t. 


Society Note* Au|. S... 

Song Writer* of tha 6ay 

Nineties Mar. 

Yacht Club Boy* Garden 

Party Do*. 


No. I — Song Makan ef.Aai. 17... 

the Nation— Cha*. Tebia* 

— Flowery Kingdom af 

America — Tha Wind- 


Na. 2— Tha Bli Hanratt— .Sept 14... 

Geared Rhythm — Denri 

No. 3— Bear Faat* — Tba.Oet 

Valley ef Silence— Iniai 


Ne. 4— Tub Beat Ahay— Hct.Na*. 

Dog — Mahal Wayne 
Na. 8 — Ra*e af Buliaria— .Dae. 

0. Soglow — Canay lelaad 
Na. •—Twilight Malady —.Jaa. 

Pet* from tha Wild— 

H award Chandler Chrlety 


No. 7— Feb. 

No. 8— Mar. . 

No. 9 — Mar. 21/39. 

Baby Blue* Oet 9.... 


Coo-Ceo New* Jan. 29,'99. 

Jungle Antle* Feb. 22.'S9. 

Laugh These Off Mar. 22,'39 

Madhouse Movie* Na. I....Ani. 24 

Manhattan Rhythm Mar. B.'SS 

Monkey Shine* Nov. 18 

Movie SIdeshaw Jan. II.'M. 

Nerve of Some Wemea, The.Nev. 2..., 

Old Kentucky Hound* S*pt. 7.... 

Screen Souvenir* N*. I Sept 21.... 

Screen Souvenir* N*. 2 Nov. 30 

Screen Souvenir* No. -3 Feb. I,'S9. 

Superstition ef tha Black 

Cat Aug. 10.... 

Superstition ef Three an 

a Match Oct. IS.... 

Superstition ef Walking 

Under a Ladder Dee. 2S..., 


A Dream Walking Sept. 28... 

Axe Me Another Aug. 24 

Be Kind to Animals Feb. 22,'35. 

Beware of Barnacle Bill.... Jan. 25,'3S. 

Dance Contest Nov. 23.... 

Shiver Me Timber* July 27.... 

Shoein' Hosses June I.... 

Strong to the Finlch June 29..., 

Two Alarm Fire Oet 26.... 

We Aim to Please Dee. 28..., 

Love Thy Neighbor July 29.... 

Mary Small 


Ne. 1 

Na. S 

No. 3 




.1 ri. 















.1 rt. 




.1 ri. 


.1 ri. 
.1 ri. 
.1 rt. 

March 2 . 19 3 5 




Till* ntL oau 


T>* EdItiNt WHklir 




Hi. I— MIIm Ptr Htw AU|. S... 

Mik 2 — 8»rU|bo«rd Cktn- 

»iMl Au|. SI... 

N*. S— WiUr RsdM S«»t.28... 

Nib 4— Kntlni Tim* 0<t. Z«... 

N*. •— Saddl* CIWBIM ....Nov. 30... 
N*. (—A Spartlllht Cctk- 

tall Dm. is.... 

N*. 7— KIni «f th« Evtr- 

tlHM Jm. 25.'35 

Nt. S— FillM AtMttw F«b. 32,'U 

Makint tb« Roundi July 

No Dnian, Th« A»r. 6..., 

Nnt( Hwadt Juni I — 

N« Mor* Brldi* Mar. IB.... 

Lmb ElTtI 
eil'i Wdl May 4..., 

CkU Salt 
Old Buflar, Tlw Jan. S.... 

ChU Sal* 

Pfttint Pr«rerr«d Apr. 27 

Pleased to Meet Cbal Mar. 22,'35 

Sporting Souad* Mar. 22,'35 

Up and Down Mar. 2 

Franklya Panpbora 






.1 rt. 








1 1, '35. 



Title Rel. 

Death Day Apr. 

Glory of tko Kill May 

Newilauih — No. 2 Doe. 

Wonder* of the Tropic* Dec. 



Clnle of Life of th* Ant 

Lion, The Feb. 

Faroier'* Friend Oct. 

From Cocoftfl to Buttertly. ..Jan. 
Her Majesty the Queen 

Bee Dec. 

Iniett Clowns Mar. 

Quoea of the Underworld. .. Dee. 





I. '33. 


Title Rol. 

If ThI* iM't Ltn S*pt 

Spirit of 1076 Fob. 


(Ruth Ettlni) 
An Old Spanlth OalH...Mar. 

Bandlta and Ballad* Doe. 

Southora Stylo Sept. 

Ticket Or Leave It May 

Released twice a week 

Released once a month 

Released tevta tin** a yoar 



Parrotvlllo Fir* Dept. Sept. 

Parrotvlll* Old Falkt Jan. 

Pastrytown Woddlai July 

Sunshin* Maktr*, Th* Jan. 


Cactu* KiDl Jai* 


C*ntury of Pr*or*** Jun* 

Grand Natltnal lrl*h 

Sw*epstak** Ra**, 1034.. .Apr. 
La Cuearacha Aup. 

Staffl Duaa-D*a Alvarad* 




A Little Bird Told M* S*pt 7 S... 

Along Came A Duek Aug. 10 Oy*. 

Grandfather'* Cl*ek Jun* 29 VA. 



Damascus June 8 1 rl. 

Eyes on Russia Aug. 9. ...II... 

Fakeers of the East Dee. 7 18'/*. 

isle of Spice Jan. ll,'35.IO</i. 

Red Republl* S*pt. 21 10... 



Child of Mother India 38. 

Hindu Holiday 9. 

it's a Bird 14. 

Olympic Winter Sport* 

Capital 8. 

Once Upon a Tin* 10. 


..I It. 




Title Rel. Date MIn. 


Contented Calve* Aug. 0....20Vt.. 

Dancing Mlillagaira Dec. 14. ...19.... 

Hunger Pain* Feb. 22.'35. 17t^i. . 

Oiean Swell* Oct. 12 21.... 

R*uab Necking Apr. 27 20.... 

Uadle World, The June IS.... 21 


Big Mouthploe* Nov. 9.... 20.... 

H*r** H«lr Feb. I. '39. 1 9'/... 

Ualucky Strik* .Aug. SI....20Vi.. 

SERIES (R*-ls*u(«) 

B*klnd th* 8er**a May 

Th* Advontur* July 



Allhl Bye By* Juna 

Badlan *f B*ardi Apr. 

Evarything'* Ducky Oct. 

Flylpg Down t* Z*r« Apr. 

A Pig'* Eye Dee. 

Ii the Dovll Dog H*u*« Feb. 

Odor la th* CMirt Aug. 


Cabby'* Strat**ph«r* Flight. Apr. 
PIddllR' Fua Jun* 


R«b 8 Aug. 

N*. 4 „ Sept. 

Nab 5 OeL 

N*. 6 Nov. 

Na. 7 Dee. 

N*. S Jan. 

N*. 9 Jan. 

Na. 10 Feb. 

Rel. Date 




5. Guiliver Mickey May 19 9 

6. Mickey's Steamroller ....Juno 15 7 

7. Orphans' Benefit Aug. 11 9.... 

8. Mickey Plays Papa Sept. 29 

9. The Dognapoers Nov. 10 

10. Two-Gun Mickey Dee. 25 8 

M. Mickey's Man Friday. ..Jan. i7.'35..7 

12. Band Concert Feb. 23,'35 

25 2 rt*. 

5 2 rl*. 

13. ...18... 
10. ...21... 

2. ...21... 


20 7... 

15 7... 


6. Th* Wl** LIMIo Hon... .Juno 7 Irl.. 

7. The Flying Mou** July 12 7.... 

6. Peculiar Penguins Sept. 6 8 

9. Goddess of Spring Nov, I 

10. The Goldoa Touch 

Rol. Data 


.Oct. 1 9. 

.D«*. 10 9. 

17 4... 

28 4Vt. 

26 8... 

23 4V,. 

21 5... 





No. I— Jolly Little Elvo*. 
No. 2 — Toylaad PrtaUr*. 



No. I Sept. 10 9.... 

N*. 2 Oet 8 1 rt.. 

No. S Nov. 5 i rt.. 

No. 4 Do*. 3 1 rt.. 

Na. 5 Da*. 31 1 rt.. 

Na. 8 Jan. I4.'S9. ...... 

No. 7 9.... 

No. 8 Mar. 25,'35 

Pharaohland Fob. 22.'S9..t.... 



Fixing the Staw Nov. 2. ...20.... 

Fallor Gush Man Aug. 24 18 

How To Break 90 

at Croquet Jan. 4,'35.I5 

No. 6— Weil Cured Han. ..June 22 19 


No. i — Song* *f the 

Colleges Oet. 5 15 

No. 2 — Ferry Go Round Nov. 23 20 

No. 3— This Band Age Jan. 25/35. 2i</t . . 

N*. 4 — Simp Phoney Concert. Mar. 15/35.21 



Blasted Event June 29.... 19.... 

Brle-a-Brae Jan. 18/35.19 

Love on a Ladder Sept. 7 20i/*.. 

Poisoned Ivory Nov. 16. ...21.... 

Wrong Direction Nov. 16.... 21 


Everybody Like* Mutle IRar. 9....l9</i.. 

Hanry the Ape Jan. 26.... 2 rl*. 

B*rt Lahr 

Mo. 7 Apr. S« 9.... 


Happy Pilgrim* Sept. 3 7.... 

Hill Billy* Feb. I,'35..9.... 

Robinson Cniso* tola Jan, 7.'35..9.... 

Sky Lark* Oct, 22 8 

Spring in the Park Nov. 12 7 

Two Little Lamb* Mar. II,'S5..I rt.. 

Wax Works. Th* Juna 25 9.... 

William Tell July 9 6.... 



No. I— Novelty Aug. 27.. ..9.... 

No. 2— Novelty Sept. 24 10 

No. 3— Novelty Oct. 22 9.... 

No. 4— Novelty Nov. 26 9.... 

No. 5— Novelty Deo. 17 9 

No. 6 — Novelty Jan. 28,'35..8 

No. 7— Novelty Mar. 4.'S5..lrt.. 

No. 8 — Novelty Apr. I, '35. .irl.. 

At the Mike Oct. 10 20 

(Mentone No. S-A) 
Demi Tasse Oct. 3 2 rli. 

(Doane Musical N*. I) 
Doin' the Town Jan. 30/35.18.... 

(Mentone No. 9-A) 
Fads and Fancia* Aug. 22 20 

(Mentone No. IS) 
Father Knows Best Feb. 20/35. .2 rl*. 

Sterling Holloway 
Gus Van and 

His Neighbor* Sept. 19. .. .18 

(Mentone No. 2- A) 

Title Rai. Data Hip. 

Henry'* Social Splaall Oe*. 19. 

H*nry Armatta 
Hit* of T*day Aug. IS t ria. 

(Mentone No. 12) 

Hollywood Trouble Jan. 9/SS.20 

Ju*t W* Tw* Aug. 

Knlck*rbo*k*r KnIghU Da*. 12.... tS.... 


Meet the Prafo***r Feb. I8.'3S.IS.... 

(Mentone N*. lO-A) 
Night In a Night Club. A .Sapt 1 IS.... 

(M*nt*no No. I-A) 
Oh What a Budn*** Nov. IS t rl*. 

(M*ntone No. S-A) 
Picnic Porlle July IS II 

Sterling Holloway 
Revue A la Carta Jan. IS.'SS.IT.... 

Tom Patrlcala 

(Moatono No. 8) 
Soup for Nut* Juna 17 t rt*. 

(Mentone No. II) 
Sterling'* Rival Remaa Na*. 14 1 rt*. 

Sttrllng Hdlaway 
Tld BIto 0*t M t rt*. 

(Oaan* Mu*l*al Na. 2) 
Well, By George Oet SI. ...IS.... 

(Mentone No. 4-A) 

Qeorglo Price 
Whole Show. The Daa. 18 20.... 

(Mentone No. 7-A) 

Jame* Barton 
World's Fair and Warmer.. Oct 17.... U 

Rol. OaU 


Rol. Data 



No. 20— Daredevil O' Dare.. Aug. II It 

Ben Blue 

Ail Sealed Up Sept. IS 19 

Ben Blue 

Get Rich Quick Apr. 20,'35. .2 ris. 

Allen Jenkins 

His First Flame Mar. 9/35 

Shemp Howard- 
Daphne Pollard 

Oh Sailor Behave Sept. 29. . . . 17 

Ei Brendel 

Old Gray Mayor, The Apr. 6,'35..2ris. 

Bob Hope 

Smoked Hams Oct. 20. 

Shemp Howard- 
Daphne Pollard 

So You Won't T-T-T-Talk.N*v. 8. 
Roseoe Ates 

Out of Order Nev, 17. 

Ben Blue 

Vacation Daze 2 rl*. 

Jenkins & Donnelly 
Dizzy and Daffy Dec. IS.... 19.... 

Dizzy and Daffy Dean 
Once Over LiphUy Jan. 12/3$. .2 ri*. 

Roseoe Ate* 

Radio Scout Jan 28,'S5.I9 

El Brendel 

High, Wide and Haaeom. . .Feb. 9.'85..2ria. 
Herb William* 



II. ...20.... 










.2 rls. 

No. 32— The Policy Girt.... Aug. 

MItzl Mayfalr-Roeco* All* 

Syncopated City Sept. 

Hal LoRoy-Derathy Dar* 
Faroe, Faroe Sept. 

Dorothy Stone- Bob Hope 
Good Morning Eva Sept. 

Leon Erroi 

No Coatoit Ott. 

Ruth EMIng 
Off the Beat OcL 

Morton Downey 
The Flame Soag Oet. 

Bernico Claire. 

J. Harold Murray 
Gem of the Ocean Nov. 

Jeanne Aubort 
Gypsy Sweetheart Mar. 

Winifred Shaw* 

Phil Regan 
Hear Yel Hoar Yet.. 

Vera Van and th* 

Yacht Club Bay* 

See, See, Senorlta Jan. 12,'SS. 

Tito Gulzar-Armlda 

What. No Ment Jan. S.'SS. 

El Brendol-Phll Regan 

Soft Drinks & Sweet Music. Doe. 8.... 

George Price-Sylvia Freo* 
Show Kid* Jan. S/S5. 

Megiln Kiddlee 

Tad Alexander 
Radio Silly Jan. 9,'3S. 

Cross & Dunn 
Cherehez La Femma Fab. 2,'35. 

Jeanne Aubort 
in the Spotlight Feb. 22/35. 

Hal LeRoy & Dorothy Lee 
Mr. & Mrs. Melody Mar. i6,'35. 

Ilomay Bailey — Lee Seems 
Shoestring Follies Feb. 16, '35, 

Eddie Peabody 
Singing Silhouette, The Mar. i6,'35, 

Ogia Baclanova 
Castle of Dreams, The Apr. 6, '35. 

Morton Downey 
Cure it With Music Apr. 13, '35. 

Fifl D'Orsay 
Minstrels Apr. 27,'35. 

Pick &. Pat 


No. II— Buddy's Clrcu* I rt.. 

No. 12— Buddy the Detective Iri.. 

No. 13— Viva Buddy I rt.. 


No. I — Buddy's Adventures I rl.. 

No. 2— Buddy the Dentist I ri. 

No. 3 — Buddy of the 
Legion 7.... 

Doe. 22 2 ria. 

.2 ri*. 



.2 ri*. 
.2 ri*. 
.2 rl*. 

.2 rls. 
.2 rls. 
.2 rls. 
.2 rls. 
.2 rls. 


No. 4— Buddy'* Tbeatr* 

No. 5 — Buddy'* P*ny Ex- 
pro** , 


Mirror* S*pt 8... 

Fr*ddy Rich 4 Onbostr* 
Phil SplUlny and k!« 

Musical Queana Oct 8... 

Richard HIrobw 4 HI* 

Oreh*t*ra N*v. 3... 

Don Redman 4 HI* Band.. Da*. 29... 
Will 0*b*ni* 4 HI* Or- 

*h**tra Da*. I . . . 

A 4 P Gyp*!** Jan. 28.'38 

Harry Harliek 

Chartle Davl* 4 Band Fab. 18/35 

RImae'* Rhumba Orchastra. Mar. 2.'3S. 
Barney Rapp and His Or- 
chestra Mar. 


1934-35 (In C*l*r) 

No. I— Tbose Beautiful Oama* 

No. 2— Pop Goes My Heart 

No. 3— Mr. 4 Mr*. I* th* 


Na. 4 — Country Bay 

No. 5—1 Haven't Got a Hat 



He. I— Pilgrim Day* Oct 27 

No. 2— Boston T*a Party. ..Nov. 17 

No. 3— Hall Columbia Dee. 8.... 

No. 4 — Remember the 

Alamo Doe. 20 

No. 5— Trail of the 4gor*...Jan. i9,'35. 

No. 6— Dixieland Feb. 9, '35. 

No. 7 — Blue 4 the Gray. ..Mar. 2,'35. 
No. 8 — The Mormon Trail. . Mar. 23. 'is. 
No. 9 — Westw.ard Bound . . . Apr. i3.'35. 
No. 10 — Remember the 

Maine May 4/35. 

No. 24— At the Race* July 21.... 

Edgar Bergen 

No. 25 — The Stolen Melody. July 28 

No. 26 — Camera Speakc Aug. II 


Little Jack Little Sept I 

Radio Reel No. I Sept. 15 

Mr. and Mrs. Jesse Crawford. Sept. 29 

Vaudeville Reel No. I Oct 13 

Movie Memories Oct. 27.... 

Songs That Live Nov. 10 

Gus Edwards 
Two Boobs in a Balloea 

Edgar Bergen 

Good Badminton Nov. 24.... 

Stuffy's Errand of Mercy... Do. 15 

Listening in Dec. 8.... 

Radio Reel No. 2 

Vaudeville Reel No. 2 Dec. 29 

Harry Von Tilzer Jan. 5,'35. 

Chas. Ahearn Jan, 

A Trip Thru A Hollywood 

Studio Feb. 

We Do Our Part Feb. 

Radio Reel No. 3 

Vaudeville Reel No. 8 Feb. 

Guess Stars Mar. 22,'35 

Radio Ramblers 

Billy Hill Mar. i6,'35. 

Eggs Marks the Spot Mar. 30,'35. 

Radio Reel No 4 
Some Bridge Work Apr. 13,*35. 

Easy Aces 
Vaudeville Reel Apr. 27,'35. 


.1 rt.. 

.1 ri.. 




.1 ri.. 
.1 rt.. 

6,'35..l rt.. 

.1 rt.. 
I rt.. 





.1 rl. 





.1 rt.. 





.1 rt. 

.1 ri. 

.1 rl.. 
.1 rt.. 


12 Episodes Each Unlaa* Oth*r«l*a Spa*lt*d 
TItl* R*l. Dal* MiP. 


Young Eagle* 
Boy Scout* 

.Joly 1 2 ria. 



Bum 'Em Up Barnaa Juna It I ria. 

Jack Mulhall-Lala Lane- (aaak) 

Frankle Darro 
Lost Jungle, The June IS 2rt*. 

Clyde Beattv, (aaelO 
Law of the WTIi Satt 1 2 ria. 

Rex. Rln Tin Tin, Jr. (*«k) 

Ben Turpin, Bob CB*t*r 
Myitery Mountain Dec. S 2 rt*. 

Ken Maynard-Verna HUH* <awh) 
Phantom Empire Feb. 23,'8S..2 ria. 

Gene Autry-Frankia Darra (aaeh) 


Chandu on the Magle Island 

Bela LugosI, Maria Alba 

Return of Chandu, The Oet. I 

Bela Lugosl-Maria Alba (Seven reel feature 
followed by oigM 
two reel epieodaa) 


Red Rider, The July 18 20.... 

Buck Jones (aaeb) 

(15 episodes) 
Rustler's of Red Dog Jan. 2l,'3S.2t 

John Mack Brown (eaek) 

(12 episodes) 

Tailspin Tommy Oct. 29. ...20.... 

Maurice MuFphy- <aa(H 

Noah Berry, Jr. 
Vanishing Shadow, The Apr. 23 20.... 

Onslow Stevens-Ada Ince (eaah) 



March 2 , 1935 


the great 
national medium 
for showmen 

Ten cents per word, money-order or check with copy. Count initials, box number and address. Minimum insertion, 
$1. Four insertions for the price of three. Contract rates on application. No borders or cuts. Forms close 
Mondays at 5 P.M. Publisher reserves right to reject any copy. Address correspondence, copy and checks to 
MOTION PICTURE HERALD, Classified Dept., 1790 Broadway, New York City 


cfaairs, sound eiiuipment moving picture machines, 
screens, spi)lIiRlits, stcreopticons, etc. I'rojection 
machines repaired. Catalog H free. MOVIE SUPPLY 
COMPANY, Ltd., 844 So. Wabash Ave.. Chicago. 

Supreme, American Blowers, noiseless drives, hy- 
draulic variable speed pulleys. New air washers. 
Catalog mailed. SOUTHERN FAN CO., 11 Elliott, 
Atlanta, Ga. 

those good guaranteed rebuilt Simplex and Powers 
projectors, reflector lamps, rectifiers, Mazda equip- 
ment, sound accessories, part=;. supplies. Ouality bar- 
gains always. Free catalog. Play safe with MONARCH 
THEATRE SUPPLY CO., Memphis, Tenn. Estab- 
lished 25 years. 

houses Cinephor condensers and transformers, $45 com- 
plete. THEATRE SOUND SERVICE, Rochester, N. Y. 


quiring capable, industrious manager with appetite 
for work. Fully qualified; now working and have been 
for eight consecutive years with all types of operation. 
Prefers small town setup. Available April 1st. Salary 
and percentage only. BOX 525, MOTION PICTURE 

five to thirty thousand. References. Prefer central 
or southern states. Age forty. BOX 526, MOTION 

unmarried, young, will go anywhere. BOX 517, 

tion in Pacific Coast theatre. M. KLEINSMITH, 
Canby, Ore. 

married, young, will go anywhere. DAVID EPSTEIN, 
Amenia, N. Y. 


Write for FREE catalog. DICK BLICK COMPANY, 
Box 43, Galesburg, Illinois. 


stalling SOS Cinemaphone Wide Fidelity Sound. Com- 
plete, $179.70 up; soundheads, $59.50 up; portable sound 
film, 16 mm., 35 mm., from $295; amplifiers, $39.50 up. 
Trades taken. S. O. S. CORP., 1600 Broadway, New 

sizes 7 mm. to 13 mm., 65c each, $1.25 pair. After 
this lot is sold, back to former price, $1.25 each. 
CROWN, 311 West 44th St., New York. 

sound projectors at bargain prices. Simplex, Holmes, 
Acme, DeVry — bought and sold. Large selection of 
sound Westerns, comedies, cartoons in perfect condi- 
Inc., 308 W. 44th St., New York. 

first class rebuilt Peerless low intensity lamps with 
new handy 30 ampere rectifiers, $375. One year guar- 
Memphis, Tenn. 

fiers, $49.50— replace inefficient Mazdas, old fashioned 
straight arcs. S. O. S. CORP.-, 1600 Broadway, 
New York. 


SOS new Cinemaphone soundheads make old models 
obsolete— a few of our 1932 design soundheads half 
price while they last. S. O. S. CORP., 1600 Broadway, 
New York. 

washed air units, 66c each. Agents wanted. 
Kansas City, Mo. 

fourteen-inch 2,000 reels, regularly $1.50, now 39c. 
Weston ammeters. 50 ampere scale, for generators, 
rectifiers, arcs. Regularly $10, now $2.25. S. O. S. 
CORP., 1600 Broadway, New York. 

29c square foot. Yes, indeed. Beaded, Chromolite or 
Ortho Krome. Wire for yours! S. O. S. CORP., 
1600 Broadway, New York. 


BAUGH AGENCY, 1182 Broadway, New York. 


315 Washington St., Elmira, New York. 


models obsolete — a few of our 1932 design soundheads 
half price while they last — don't be fooled by misleading 
ads. S. O. S. CORP., 1600 Broadway, New York. 

Edward Smith, Minneapolis, Kas. "Excellent service 
and sound." You'll say same about Cinemaphone. 
S. O. S. CORP., 1500 Broadway, New York. 

tions, $1.50. Buzz and chopper track, $2.50. Combina- 
tion of both, $3.00. Vitally necessary for adjusting 
soundheads. S. O. S. CORP., 1600 Broadway, New 


Give details first letter. WILLIAM C. STILL, 
Lancaster, O. 


chamber instruments, cash. RAY SEVERENS. 1101 
Bellefontaine, Lima, O. 

ment, for 250 seat house. Cash. BOX 527, MOTION 

thing, for cash. S. O. S. CORP., 1600 Broadway, 
New York. 


Terms if desired. BOX 528, MOTION PICTURE 



tion" in three volumes. Universally accredited as the 
best and most practical. Aaron Nadell's "Projection 
Sound Pictures." Complete information on sound 
equipment. Both text books complete for $12.80. 
QUIGLEY BOOKSHOP, 1790 Broadway, New York. 



EASTMAN Super-Sensitive ^^Pan" 
Negative has played a part in pro- 
ductions that marked veritable milestones 
in cinematic progress. Yet its success 
in these outstanding pictures is based 
upon the same dependability it offers 
cameramen and producers every day in the 
year. Unfailing, day-after-day excellence is 
the quality that makes this film the natural 
choice for the screen's greatest ventures. 
Eastman Kodak Company, Rochester, 
N. Y. (J. E. Brulatour, Inc., Distributors, 
New York, Chicago, Hollywood.) 

EASTMAN Super-Sensitive 
Panchromatic Negative 







Directed by Gregory I a r 
'"■amount Belease 




Decisions by U. S. Supreme Court In- 
validate William Fox's Claims under 
Flywheel and Double Printing Patents; 
Full Text of Rulings » » » 


Company Program Does Not Include 
Making Pictures but Concentrates on 
Development of Film Printing and 
Financing of Production » » 

Two Sections — Sect 

OL 118, NO. 10 

Entered as second-class matter. Junuarv 12, 1931. at the Post Ofice, at Nezc York, N. V.. under the act of March 3, 1879. Pub- MAR 0 IQ'^R 
lishcd Weekly by Quiglcy Publishing Co., Inc., at 1790 Broadway, \'ew York, .'iiihscriftioii . $3.00 a year. Stniile colnes. 25 cents. \. i , i i j.j 

The Greatest Singing 
Picture Ever MacJd 


«^s»«^.c., Sri 

rf'"e One" '^AJ " 

fo P'ace nf k^;;'"^ that 

'n^bri,^°tn. fl^^J-^a/d, l^riT»- 

P;w 5 \A, ' Edward R ^'^"^ 

Mac Donald, Eddy 
Charm in Operetta 


Direction W. S. Van Dyke 

Original Opertta: Victor Herbert and 

Rida Johnson Young. 
Screen Play: John Lee Mahin, Frances 
Goodrich and Albert Hackett. 

Lyrics Cus Kahn 

Photography William Daniels 

Producer Hunt Stromberg 

Cast: Jeanette MacDonald, Nelson 
Eddy, Frank Morgan, Elsa Lanches- 
ter, Joseph Cawthorn, Douglas 
pumbrille, Cecilia Parker, 
Greta Meyer, 
Harold Huber, 



Lilting . music that trills its way 
\^ throughout the picture and thrills by 
Sjts performance. The lovely, familiar 
Victor Herbert arias are at once the 
hero and 'hercAne and raison d'etre of 
the production and, as sung by Jean- 
ette MacDonald and Nelson Eddy, 
they are something one can't afford 
to miss. It's a picture that shoul 
be labelled, "Must See.' 

There is in the picture another d'ebf 
the public owes itself and that is the 
privilege of hearing Nelson Eddy. He 
sings his way through with the great- 
est of ease, with a voice that has a 
surprisingly great range, with a per- 
sonality that is easy-going and charm- 
ing, and he has all the physical 
attributes of a hero. ' There's 'gold in 
that thar voice for Mr. Eddy, the pro- 
ducers and the exhibitors. 

Those are the outstandingly impor- 
tant features of "Naughty Marina.' 
The plot doesn't matter, because ii s 
delightfully hidden by the music and 
direction, the acting and the spare 

dialogue. The whole thing is neces- 
sarily made up of individual credits. 
Van Dyke turns his talents on a musi- 
cal and manages to give it the same 
moving pace that he injects into all 
his pictures-;* The big song numbers 
have been staged very well and he 
has gotten that same feeling of the 
actors having fun while working that 
I impresses in everything he does. 

Herbert Stothart is the one to thank 
for the grand scoring of the picture. 
It must have been a terrific task and 
he has done a gorgeous job. And to 
continue with the music, Cus Kahn 
has contributed fresh lyrics that help 
treinendously in the pleasure of re- 
newing acquaintance with old favor- 
ites. The screen play has been cleverly 
and amusingly done by John Lee 
■ Mahin, Frances Goodrich and Albert 

Jeanette MacDonald has the happi- 
est role that's been handed her in a 
long time. She looks so beautiful in 
the costumes and .her voice is an 
inspiration. Frank Morgan, good old 
Frank Morgan, is a )oy as the governor 
trying to forget what he married. 
What he married was Elsa Lanchester 
in her first sizable part on the Ameri- 
can screen and there's an actress who 
should become a very valuable factor 
in our fair business. She's grand, she's 
so realistically awful. Harold Huber 
and Edward Brophy as a couple of 
palsy walsys in' Daniel Boone outfits 
are priceless. Cecilia Parker is lovely 
and very charming -as a little maid. 
Joseph Cawthorn, Douglas Dumbrille, 
Walter Kingsford, Akim Tamiroff and 
Greta Meyer are ,all excellent in sup- 
porting roles. • 

William JSahiels' -pho 

rriuch to 'enhance the 

'pYbiJuction, and for tha 

itself Hunt Stronl|erg i 

bow. Hunt seems f dbe {fl 

rather merrily these d 

this picture is soi 

about for the whol 

''Kill I J 






l lllllll'W''' „. 


i,"; ¥'i!i9'i!i|lii!:fi!i 

Itll1lllllllllllllll1ll1llll|lllllli|iii I " 


who gave you "Devil Dogs" 
and "Sweet Music", now bring 
you 3 major stars, in a single show, 
to keep you living on velvet. 

If iir 


mil IS 



I Iff ' 



Of J 





who helped make "Flirtation Walk" 
one of the box- office champions of 
1934, turns in another swell directo- 
rial job in this First National Picture. 

Specia/Acac/eiriyAwan/ (o 


Said Irvin S, Cobb in making the 
presentation: "When Santa Claus 
brought you down creation's 
chimney, he brought the loveliest 
Christmas present that was ever 
given to the world. Shirley, honey, 
you cannot realize the full im- 
portance of this occasion, but 
you will in later years. You have 
given the world one of its great- 
est gifts. I am told you have 
made more people happy and 
made more children laugh than 
any child your age in the history 
of the world. So, on behalf of the 
Academy, I give you this statu- 
ette with all love and admiration." 


Vol. 1 18, No. 10 

March 9, 1935 


THE attention of the nnotion picture industry may well be 
directed to the significance of the procedure by which 
Universal Pictures Corporation has enforced retraction 
from the "press of the air" in connection with a chatter broad- 
caster's erroneous report of the sale of the company. 

The motion picture has long been subject to the destructive 
and sensation seeking air gossip of the radio columnists. 

The motion picture has been taking it from the radio, with 
much of the same unreasonable meekness with which it accepts 
irresponsible and destructive journalism of the fan press and 
sectors of the alleged trade press. 

There is perhaps not much that is to be done about mere 
incompetent journalism and editorship either on the air or on 
printed page, but there are remedies against gross irrespon- 
sibility and the recklessness which is so closely akin to malice. 
Freedom of speech and freedom of the press do not imply 
that printer's ink and the microphone can be made the play- 
thing of Ignorant, conscienceless adventures in the jungles of 

The best that is done in radio-journalism is decidedly excellent. 
The worst that is done on the air is the worst in the world — and 
that is the part the motion picture has been getting. 



THE news of the week concerning the rehabilitation of 
Pathe Exchange, Inc., is interesting evidence of the vast 
vitality of the motion picture. Here is a corporation which 
was cut precisely in two by a half-accomplished liquidation, 
and thereupon proceeds to grow a new head and complete 
organism from the unliquidated tail end. What a rooster! 



THE great Tri-Ergon specter has vanished, slipping off into 
history along with that long array of tremendous things 
that never were. 
The audit continues to show that in the world of the motion 
picture there is more probability of profit on the screen than 
in the courts. 

There is to be sure no final certainty of opinion justified in 
unfinished patent controversies of any sort, the courts being 
technologically handicapped as they are, but the publicity 
given to the ambitions of Mr. William Fox, as based on Tri- 
Ergon, loomed much larger than the facts warranted at any 
time. It is pleasant to recall at the moment that Motion Pic- 
ture Herald's presentations on the subject refused to view with 
alarm. In our issue of October 20, 1934, in an article entitled 

"Inside of the Patents," the editor of Motion Picture Herald 

"We shall, if we survive years enough to see the 
end of the sound picture patents litigations, pend- 
ing and impending, find once again that something 
did not happen. , . ," 

With respect to patent excitements of the sort It is a safe 
general, assumption that the known history of an Industry always 
includes the complete line of significant elements of develop- 
ment, and that surprises from ambush outside the regular pat- 
tern of growth are seldom well founded. A great many patent 
claims are merely good stories for the Sunday supplements. 


F indeed, as seems possible, Mr. Phillips Lord, radio enter- 
tainer aboard his schooner, the Seth Parker, in the South 
Seas, was looking for publicity, he seems to have got it — 
of a sort, that sort that confers little on American status the 
world around. The "perils" which menaced the Seth Parker 
appear to have been almost as desperate as the dangers of 
Commander Byrd's sojourn in the insulated bungalows of 
Little America. The path of the publicity bungler is beset 
with punctures and blow-outs. 



A SURVEY by the National Recreation Association sets 
forth that the average citizen makes the motion pic- 
ture third of his amusements, the first and second being 
reading newspapers and listening to the radio, respectively. 
It is pleasant to know that when he is sufficiently stirred to 
get up and go somewhere, the first place he thinks of is the 
picture theatre. The report also tends to give support to our 
frequent assertion that the newspaper of today tends to be 
mostly penny vaudeville — an amusement enterprise. 


March 13 is announced by the Brewers' Board of Trade as 
the official release date for the bock beer of 1935. Then be- 
fore long there will be the May wine, brewed with herbs. Things 
could be worse. 


THIS being early March, they are making maple sugar in 
New England, the jonquils are peeping through, the first 
robins have been reported in Bronx Park, and Mr. Samuel 
Goidwyn has arrived from Hollywood, on his way to London, 
with his annual spring headline making interviews. Looks like 
a good season. 


Incorporating Exhibitor's Herald, founded I9I5; Motion Picture News, founded 1913; Moving Picture World, founded 1907; Motography, founded 1909; The Filnn Index, 
founded 1906. Published every Thursday by Quigley Publishing Company, 1790 Broadway, New York City. Telephone Circle 7-3100. Cable address "Quigpubco, New York." 
Martin Quigley, Editor-in-Chief and Publisher; Colvin Brown, Vice-President and General Manager; Terry Ramsaye, Editor; Ernest A. Rovelstad, Managing Editor; Chicago 
Bureau, 407 South Dearborn Street, Edwin S. Clifford, manager; Hollywood Bureau, Postal Union Life Building, Victor M. Shapiro, manager; London Bureau, Remo House, 310 
Regent Street, London W I, Bruce Allan, cable Quigpubco London; Berlin Bureau, Berlin-Templehof, Kaiserin-Augustastrasse 28, Joachim K. Rutenberg, representative; Paris 
Bureau, 19, Rue de la Cour-des-Noues, Paris 20e, France, Pierre Autre, representative, cable Autre-Lacifral-20 Paris; Rome Bureau, Viale Gorizia, Rome, Italy, Vittorio Malpassuti, 
representative, Italcable, Malpassuti, Rome; Sydney Bureau, 600 George Street, Sydney, Australia, Cliff Holt, representative; Mexico City Bureau, Apartado 269, Mexico City, 
Mexico, James Lockhart, representative; Prague Bureau, Na Slupi 8, Prague II, Czechoslovakia, Harry Knopf, representative; Cape Town Bureau, 10 St. George's Villas, Green 
Point, Cape Town, South Africa, H. Hanson, representative; Budapest Bureau, 3, Kaplar -u, Budapest. Hungary, Endre Hevesi, representative; Buenos Aires Bureau, Cuenca 52, 
Buenos Aires, Argentina, N. Bruski, representative. Member Audit Bureau of Circulations. All contents copyright I93S by Quigley Publishing Company. Address all corre- 
spondence to the New York Office. Better Theatres, devoted to the construction, equipment and operation of theatres, is published every fourth week as section 2 of Motion 
Picture Herald. Other Quigley Publications: Motion Picture Daily, the Motion Picture Almanac, published annually, and the Chicagoan. 



March 9, 1935 




"Hollywood is the one place where good 
pictures are made consistently, although 
notable strides are being made abroad," 
says Actor Victor Varconi, in Europe three 
years, now back in RKO Radio's "Roberta." 
He calls the film industry dead in Germany, 
points to some interesting activity in Vien- 
na, and little of importance elsewhere ex- 
cept in England, although he sees British 
production no threat to Hollywood. . . . 


Imposed on Harry Wade, operating at 
Talladega, Ala., was a $100 fine by Judge 
Grubb in Birmingham federal court for run- 
ning an advertisement that a "live baby" 
would be given away in a lottery. The 
charge was using the mails in connection 
with a lottery, to which Mr. VV^ade pleaded 
guilty. . . . 


Crashing tragedy last week ended what 
was to have been a novel stunt advertising 
Warner's "Devil Dogs of the Air" at the 
Plaza, in Lamar, Mo. Rex Thomas, Lamar 
Democrat reporter, went aloft to "bom- 
bard" the town with ad material, with him 
going Maurice Bassett, local sheriff's son, 
and pilot Ward Millard. As hundreds 
watched, the plane spun, dived to the 
street from 350 feet up. Thomas, Bassett 
were killed. . . . 


Generally improved conditions, theatre 
business uptrend, a new note of optimism, 
were the encouraging discoveries of Nor- 
man Moray, Vitaphone sales manager, on 
his tour of numerous situations in the coun- 
try. He restates a perennial truth, "Good 
pictures are doing excellent business.". . . 


Expanding, Columbia's studio has pur- 
chased a 40-acre tract near Burbank, Cal., 
to be used for permanent outdoor sets, 
since the company has long found It neces- 
sary to lease exterior locations from other 
studios having their own ranches. . . . 


Bermuda General Theatres has been 
formed to operate the combined proper- 
ties of Bermuda Moving Picture Company, 
Ltd., with nine houses, and Reid Hall, Ltd., 
with six. Three theatres will be closed. 
The deal was arranged by E. S. C. 
Coppock, with Paramount for many years 
and noted as a circuit "doctor." A busi- 
ness committee of two directors from each 
company will be actively in charge. . . . 


The world's costliest toy, Colleen Moore's 
famed doll's house, containing 20 rooms, 
inlaid with gold and jewels, beautifully 
furnished, fully equipped in miniature, even 
to tiny books by famous authors, a usable 
radio, a working organ, the whole taking 
nine years, employing 700 workmen, and 
costing $435,000, will be on display at 
Macy's in New York April 8, first stop on a 
world tour to raise funds for crippled Amer- 
ican children. . . . 


At the California Pacific International 
Exposition, opening May 29 on the Coast, 
will be shown a film recounting the history 
of the building of the West, sponsored by 
F. J. Hansen Company, Ltd., real estate 
developers of San Diego. From the ar- 
rival of Juan Rodriguez Cabrillo to the 
exposition itself, the film will span the years 
of California development. . . . 


The Los Angeles code grievance board 
recently refused to accede to the demand 
of the ITO of Southern California that 
Harry Hicks be dropped from the board 
for alleged violation of the code through 
the use of script. Mr. Hicks is said to 
have agreed to stop the practice. . . . 

In This Issue 

Tri-Ergon decision blasts William Fox's 
hope of building new "empire" on 
sound patent royalties 

Complete text of Tri-Ergon ruling 

Radio bows to newsreel's demand and 
apologizes for commentator's remarks 

Approval of Webb plan assures continu- 
ation of Pathe operation 

Circuit and Paramount adopt electrical 
transcription system for radio ex- 



The Camera Reports 
The Cutting Room 
The Hollywood Scene 
J. C. Jenkins — hHis Colyum 
Productions in Work 


What the Picture Did for Me 
Showmen's Reviews 
Managers' Round Table 


Short Features on Broadway 
Letters from Readers 
The Release Chart 
Box Office Receipts 
Classified Advertising 

Page 9 
Page 57 

Page 13 

Page 17 

Page 27 

Page 7 
Page 15 
Page 38 
Page 47 
Page 66 
Page 93 

Page 78 
Page 48 
Page 85 
Page 84 
Page 83 
Page 84 
Page 70 
Page 40 
Page 94 


Recognizing the screen as an art "vitally 
affecting our national culture at the present 
stage of our evolving civilization," the 
Society of Arts and Sciences has awarded 
its annual fellowship gold medal for dis- 
tinguished service to Grace Moore, opera 
star, for her work in Columbia's "One 
Night of Love." Miss Moore thus joins a 
distinguished company of 52 previous 
recipients, only one of whom was a woman, 
the stage's Eva LeGalllenne. . . . 


Last weekend opened at the Venice 
(formerly Jolson) theatre on Broadway, "II 
Martirio Dei Cristiani," which is an Italian 
dialogue-dubbed version of the Paramount- 
DeMille spectacle, "The Sign of the Cross." 
Clemente Giglio presents the film as his 
first under a Paramount contract for ex- 
clusive American exhibition of Italian ver- 
sions of Paramount product. . . . 


Under an amendment to the Mexican 
Income tax act, distributors must pay a 6 
per cent import in fiscal stamps on money 
received in rentals from exhibitors, who 
must request receipts from distributors 
bearing the stamps before paying rentals. 
In January of each year distributors must 
report to the finance department their total 
income for the previous calendar year. . . . 


Created by the Society of Motion Pic- 
ture Engineers Is a new award, the Progress 
Medal, to be presented to an Individual 
for outstanding work resulting in significant 
advance of motion picture technology. 
The award will be made at the fall con- 
vention of the Society. A committee, 
headed by Dr. Alfred N. Goldsmith, has 
been named to select the recipient. . . . 


From stage to screen, In a sense, has 
gone Joe Weber, of the famous old vaude- 
ville team of Weber and Fields, having 
taken over operation of the DeLuxe, film 
house on New York's 125th street, where 
he will exhibit under a double feature 
policy. Screen, stage stars have promised 
to attend his opening performance. . . . 


Milwaukee members of the MPTO of 
Wisconsin and Upper Michigan have peti- 
tioned the mayor to regulate new theatre 
construction In the city. Members point 
to 75 theatres, with more than 82,000 seats, 
a ratio of seven persons for each seat. . . . 

March 9 , 19 3 5 




Highest Tribunal Finds the Tri- 
. Ergon Sound Patents Are 
Based on "Ancient Devices" 
and They "Lack Invention" 

The United States Supreme Court this 
week blasted with dramatic swiftness 
the visions of WilHam Fox of a new 
empire of the motion picture with 
him,self on the throne when it declared 
that the Tri-Ergon sound patents, upon 
which he hoped to collect millions in roy- 
alties, were based on "ancient mechanical 
devices" and "lacked invention." 

Reversing the lower courts, in expressions 
considerably more definite than marked 
their recent "gold clause" ruling, the judges 
of the high court, without a dissenting 
vote, held invalid claims of infringement 
which Mr. Fox had advanced against vir- 
tually the entire Industry during a four- 
year court battle in behalf of Tri-Ergon's 
"double printing" patent for recording, 
and "flywheel" mechanism in reproduction. 

The decisions finally and effectively dis- 
pose of some 30 suits filed in a wholesale 
court attack against producers, distributors, 
exhibitors and film laboratories', thereby 
relieving the industry of any worries of 
threatening interruptions in motion picture 
sound procedure, and preventing Mr. Fox 
from pressing his demands for royalties 
amounting to millions. 

Asserting that Tri-Ergon was not entitled 
to patent protection of the discoveries, 
and that "the record fails to show that 
there was any long-felt or generally recog- 
nized want in the motion picture industry 
for the devices" defined by the claims, 
the Supreme Court at once kept the sound 
Industry In status quo and shattered any 
hopes William Fox may have had for a 
"comeback" through Tri-Ergon. 

Word from Washington on Monday in- 
dicating the Supreme Court had found that 
the technical methods involved in the litiga- 
tion "required only the exercise of ordinary 
good judgment and not the inventive facul- 
ty," stimulated industry management, for 
while the final decision has been awaited 
with optimism there was a realization that 
Mr. Fox had already been sustained by all 
of the lower courts. 

Developments in lower courts in recent years 
had established somewhat the nature of Mr. 
Fox's scheme by which he hoped, some day, 
to lay tribute on practically every company in 
the industry, collecting large royalties on 
the rights to the two sound mechanisms de- 
veloped by three unknown German inventors 
and purchased by him seven years ago for 

This much has been known : William Fox, 
the historic "independent" foe of the onetime 
great Motion Picture Patents Company, has for 
a half-dozen years envisioned himself as a mo- 
tion picture patents company with purposes and 
plans as broad in scope as those of the "trust" 

Complete text of the deci- 
sions handed down on Monday 
by the United States Supreme 
Court at Washington denying 
William Fox's "flywheel" and 
"double printing" Tri-Ergon 
claims starts on page 57. 

against which he fought with force, finesse and 
injunction all the way from a nickelodeon on 
the East Side of New York's crowded Four- 
teenth Street to the White House in the bitter, 
violent days of 1910-14. 

While it is impossible to estimate the actual 
amount involved, claims by Mr. Fox and his 
American Tri-Ergon Corporation have been 
variously placed, in newspaper headlines, at be- 
tween $25,000,000 and $100,000,000. Presum- 
ably much of this would have devolved upon the 
two large "electrics" since they would probably 
have been obliged to protect their licensees from 
damage suits. 

To his enormous holdings, variously reported 
worth between $50,000,000 and $200,000,000— 
a considerable part of which was gained in an 
extensive short-selling movement in stocks, re- 
sulting in a summons to appear before a United 
States Senate investigating committee — Mr. Fox 
would have added tribute from each motion 
picture producer, theatre owner and manufac- 
turer of sound equipment, if the courts had 
upheld the patents. 

In two opinions, totaling some 9,000 words, 
handed down Monday morning by Associate 
Justice Stone, the court specifically disposed of 
three "test" cases brought by Tri-Ergon, one 
against Altoona Publix Theatres, Inc., one 
heard jointly against Wilmer and Vincent Cor- 
poration and Locust Street Real Estate Com- 
pany, both involving the "flywheel" in theatre 
reproducers ; and a third against Paramount 
Publix Corporation, involving the double print- 
ing system in sound recording. Justice Bran- 
deis did not participate in either the consider- 
ation of the cases or the decisions, but with 
that exception the opinions were unanimous. 

The suit against the theatre operators was 
defended by the Radio Corporation of America 
on behalf of its subsidiary, RCA Photophone, 
Inc., licensor of reproducers installed in the- 
atres of the defendants. The case against Para- 
mount was defended by Electrical Research 
Products, Inc., a subsidiary of Western Electric, 
affiliated with American Telephone and Tele- 
graph Company. 

Seven of 19 claims in a patent held by Tri- 
Ergon covering projection were involved in 
the case against the theatre companies, five of 
them relating to the "flywheel" device for se- 
curing uniformity of speed in reproducers. Two 
other claims were sought to be incorporated in 
the case by a disclaimer filed shortly before 
the hearing, but disallowed in the decision. 

"While both courts below have found 
Invention and sustained the patent, the 
Court of Appeals did not pass on the 
separate claims In Issue, but found Inven- 
tion In a combination of elements not em- 
braced in any single claim," the Supreme 
Court pointed out. "In consequence, the 
case presents no question of concurrent 
findings by the courts below that the 
claims In Issue severally Involve invention." 

The suits concerning the validity of the pat- 
ents had been sustained by Federal Circuit 

Decisions Dispose of 30 Suits 
and Automatically Prevent 
Williann Fox from Pressing for 
Many Millions in Royalties 

Courts in New York and Pennsylvania. Five 
months ago the Supreme Court in a formal 
order refused to review an appeal by Para- 
mount and the others. But a month later the 
court reversed its position and consented to 
reopen the litigation. 

Doubly Significant for Paramount 

The Supreme Court by its original refusal 
to review had not automatically declared that 
the patents were valid, nor that they had been 
infringed. By its formal action the court mere- 
ly refused to review the lower courts because 
it felt there was not sufficient legal reason for 
a review. 

The decision this week has double significance 
for Paramount Publix, in view of the large 
claim that had been standing against it as filed 
by Tri-Ergon in connection with the reorgani- 
zation of the company. 

The quality of Tri-Ergon's patent claims has 
for months been the subject of much argument 
in the technical field. While exhibitors and 
producers labored pretty much in the dark as 
to the legalities and technicalities of the claims, 
sound and patent experts were somewhat di- 
vided in their opinions. To them the court's 
conclusions carried as much interest as the 
opinion itself. 

Electrical Research Products, through John 
E. Otterson, its president, made the following 
statement : 

"The so-called Tri-Ergon patents in ques- 
tion, originally taken out by German In- 
ventors, have been used as the basis for 
numerous Infringement suits brought 
against American manufacturers, motion 
picture producers, and exhibitors, In con- 
nection with which extravagant claims for 
damages were made. The decisions of 
the Supreme Court declaring these patents 
to be invalid finally and effectively dispose 
of all of these suits and the claims Incident 

The ofike of David Sarnofif, president of 
Radio Corporation, was trying to make up its 
mind whether it would voice any comment. 

William Fox was silent. 

In the Courts Since 1930 

William Fox and his American Tri-Ergon 
interests had been fighting the defendants since 
1930. The cases had been steered independently 
through the lower courts to the door of the 
United States Supreme Court, which, on 
October 8th, 1934, threw a bombshell into the 
industry when it refused to review the lower 
court's decisions favoring Mr. Fox. 

Immediately, Broadway's executive offices and 
Main Street's theatre owners began to indulge 
in wild speculation of the potential import that 
the decision might have on the users of motion 
picture sound equipment. Daniel Rosenblatt, a 
Fox attorney, said the Supreme Court's action 
would pave the way for royalty suits on the 
wholesale. He intimated that the "big guns" 
of the industry would be the first to be "talked 
to." The socalled "small" exhibitors, he as- 
sumed, would immediately "fall in line." 

Regardless, the business proceeded normallv. 

(Continued on following page^ 



March 9 , 19 3 5 


(Continued from precedinci page) 

even when Mr. Fox, in mid-October, deluged 
the United States District Courts with suits 
against seven motion picture laboratories, six 
independent producer-distributors and virtually 
all of the large corporations. He charged in- 
fringement of Tri-Ergon patents against the 

AmerAnglo Corporation. 
Cinelab Laboratories, Inc. 
Columbia Pictures Corporation. 
Consolidated Film Industries, Inc. 
Du-Arv Film Laboratories, Inc. 
Filmlab, Inc. 

First Division Pictures, Inc. 
H. E. R. Laboratories, Inc. 
Loew's, Inc. 

Malcolm Laboratories Corporation. 
Metro-Goldwyn-Mayer Distributing Cor- 

Metro-Goldwyn-Mayer Corporation. 
Metro-Goldwyn Pictures Corporation. 
Monogram Pictures Corporation. 
Producers' Laboratories, Inc. 
Reliance Picture Corporation. 
Talking Picture Epics, Inc. 
Twentieth Century Pictures, Inc. 
Universal Pictures Corporation. 
Warner Pictures, Inc. 

The following week a federal district court 
in Pennsylvania awarded actual damages to Tri- 
Ergon in the "flywheel" claim against Altoona 
Publix, Wilmer and Vincent and Locust Street 
Realty. It was the first decision granting 
damages to Mr. Fox in his court attack. 

At the same time American Tri-Ergon was 
reported to be preparing the establishment of a 
nationwide collection agency, managed by Jack 
G. Leo, a Fox brother-in-law, to gather any 
damages that might be awarded it by the courts 
in the various states, and to establish a fixed 
schedule of periodical payments by theatres ac- 
cording to size and gross. 

Mr. Fox was obviously anticipating victory in 
the various intricate legal entanglements with 
which he believed he had entwined the whole 
industry when, on November 10th, the United 
States Supreme Court figuratively administered 
to him a stinging slap after it had been informed 
that he was using his position in the matter to 
"coerce substantially the entire motion picture 

Reconsidering its refusal of October 8th 
to review the lower courts, the Supreme 
Court granted the industry, through peti- 
tions filed in the cases of Paramount Publix 
and the three theatre companies, a re- 
hearing for a review of the claims, thus 
bringing to an abrupt halt Mr. Fox's wide- 
ly publicized legal onslaught, and, thereby, 
considerably weakening his so-called "dom- 
inant" position through which he hoped to 
collect millions. 

The petitions pointed out to the Supreme 
Court that Mr. Fox's attack had the immediate 
efTect of threatening to interfere with the entire 
business in its normal pursuits of producing and 
exhibiting motion picture entertainment for the 
public. Fox would claim tribute from everyone, 
it was said. 

The basis of the industry's defense was that 
the patents covered methods well known in the 
industry that do not constitute patentable inven- 
tions. The decisions of the Supreme Court this 
week upheld this, and now Mr. Fox is right 
back where he started from. 

Under the terms of the licensing agreements 


" 'What the Picture Did for 
Me' is a great help in the select- 
ing of the pictures I run In my 
theatre." — This from B. L. 
. Smith of the Liberty Theatre at 
Quinton, Okla., who adds: 

"I read the reports each week 
and save nnany dollars by tak- 
ing the advice I obtain from this 
department. I am sending you 
two reports on pictures." 

existing between Electrical Research Products 
and RCA Photophone and their producer and 
exhibitor licensees, the two sound manufactur- 
ers agree to defend the licensees to the extent 
of their investment in the equipment, in any 
cases involving patent infringement. 

When the Tri-Ergon matter reached the 
Supreme Court last October there was much 
speculation over eventualities in the case of a 
complete victory for Mr. Fox. It appeared 
later that the electrics had one of three courses 
open : effect a complete settlement with Tri- 
Ergon, arrange to pay him moderate royalties 
for further use of the patents, or evade the 
patents in sound systems and let the courts de- 
cide whether their owner is entitled to any pay- 
ments for previous use. 

Besides the three theatre defendants and 
Paramount Publix which were involved in the 
litigation, and the 20 laboratory and producer- 
distributor defendants named in October, both 
Erpi and RCA, and Radio-Keith-Orpheum, 
were named defendants in actions filed in Dela- 
ware in November, 1931. These are still 

Claimed "Great Losses" 

Although Tri-Ergon's various complaints 
specified no definite amount as being involved 
in damages, they charged that, as a result of 
alleged infringements, Tri-Ergon had suffered 
"great and irreparable loss, damage and injury" 
and is deprived of great gains and profits. Fur- 
ther, Mr. Fox modestly asked in the lower 
courts that the defendants be required to "pay 
over to the plaintiff all gains, profits and advan- 
tages earned or received." 

The Tri-Ergon patents played an important 
part in Upton Sinclair's book about the life of 
William Fox, published in 1933. In the narra- 
tive, which was supposed to have been related 
by Fox to Sinclair, Fox charged the bankers 
and the electrics with "wresting" from him 
control of his motion picture companies. (Mr. 
Fox received $21,000,000 for these corpora- 

Mr. Fox and Mr. Sinclair appeared in the 
book to be having a merry time figuring 
out the possible royalties that would be col- 
lected through Tri-Ergon, which they both 
"roughly" estimated at that time as approx- 
imately some $1,300,000,000, or, as Mr. Fox 
so aptly described it in the book, a sum of 
money "equal to the wealth of a nation." 

Mr. Fox's American Tri-Ergon Corporation 
is a patent-holding company organized by him 

as a personal venture for the express purpose of 
exploiting commercially in the United States 
the inventions of three Germans : Hans Vogt, 
Joseph Massolle and Joseph Engl, who had 
worked on the systems in a Berlin attic since 
1900. The devices brought to them nothing 
more than a bare existence during their devetop- 
ment, and virtually nothing afterward. So pro- 
nounced was the failure of these three young 
German inventors to realize commercially on 
their labors that their disappointment caused 
them to dissolve a long friendship and associa- 
tion. And today they work alone. 

The five principal patents held by Tri-Ergon 
on applications granted originally to Vogt, 
Massolle and Engl by the Deutsches Reichs- 
Patent Offices, Berlin, are : 
Deutsches Reichs-Patent No. 368,367, filed 
June 3rd, 1919, on a recording glow lamp 
invented by Hans Vogt in collaboration 
with Joseph Massolle and Dr. Jo Engl. 
Deutsches Reichs-Patent No. 368,383, filed 
April ISth, 1921. on a double printing 
process invented by Hans Vogt in collab- 
oration with Joseph Massolle and Dr. Jo 

Deutsches Reichs-Patent No. 387,058, filed 
May 23rd, 1920, on a fly-wheel device in- 
vented by Hans Vogt in collaboration with 
Joseph Massolle and Dr. Jo. Engl. 

Deutsches Reichs-Patent No. 387,059, filed 
July 26th, 1919, on a resistance amplifier in- 
vented by Joseph Massolle in collaboration 
with Hans Vogt and Dr. Jo Engl. 

Deutsches Reichs-Patent No. 389,598, filed 
June 6th, 1922, on a gamma ray process in- 
vented hy Dr. Jo Engl in collaboration 
with Hans Vogt and Joseph Massolle. 

Deutsches Reichs-Patent No. 417,967, filed 
March 4th, 1919, on a photoelectric cell in- 
vented by Hans Vogt in collaboration with 
Joseph Massolle and Dr. Jo Engl. 
The two patents specifically involved in the 

litigation ended by the Supreme Court this 

week are : 

(1) U. S. Patent No. 1,713,726, Vogt, et 
al, granted May 21, 1929, popularly known 
as the "flywheel patent," relating to cer- 
tain methods and apparatus for uniformly 
moving the sound record film under the 
control of inertia, either in record or re- 
producing machines and utilizing sound 
controlled light in translating the sound to 
or from the film; this patent also relates to 
the photoelectric cell when used with such 
reproducing apparatus as is generally sup- 
posed to be the present practice; and, 

(2) U. S. Patent No. 1,825,598, Vogt, et 
al, granted September 29, 1931, relating 
to the process for producing combined 
sound and picture film by photographing 
the sound and pictures on separate films so 
that they may be developed separately, 
and then printing both records side by side 
on a single film. 

In 1924 the inventors and some others in 
Europe who had obtained an interest in the 
developments, assigned their rights to Tri- 
Ergon, Ltd., of St. Gall, Switzerland, which in 
turn sold to Mr. Fox 90 per cent of the Amer- 
ican rights in 1928. Mr. Fox then vested these 
rights with the American Tri-Ergon Corpora- 
tion, of which he is president. It has been 
pointed out that Mr. Fox was still the president 
of Fox Film Corporation when he turned the 
rights over to his Tri-Ergon company, and that 
he took these rights with him when he sold Fox 
Film to the bankers. 

Of equal importance with any action that Mr. 

(Continued on following page) 



h 9 , 19 3 5 



(Continued from t>recedinf/ page) 

Fox might have taken to recover royalties from 
the industry was a threatening interruption of 
the proceedings by the Swiss Tri-Ergon inter- 
ests, which, last October, was reported to be 
considering a suit against Mr. Fox to retrieve 
the rights in the patents on the grounds that 
Fox was no longer entitled to them because he 
had failed to commercially exploit the devices. 

Too, Fox Film Corporation has had pending 
in the courts a suit against William Fox in 
which the film corporation asked for a sum 
ranging between $10,000,000 and $15,000,000, 
charging irregularity, and for the return of the 
Tri-Ergon patents. 

Court Belittles Tri-Ergon's Claims 

Discussing the technical points of the claims 
involved, the Supreme Court this week found 
that "there is no serious contention, nor could 
there well be, that the combination apparatus, 
for moving the linear record past the translation 
point at which the sound is recorded or repro- 
duced, involves invention without the flywheel. 
Mechanisms for moving linear strips, or ribbons, 
by passing the strip over a revolving drum or 
cylinder, are a familiar type in the arts. They 
have long been used in the motion picture in- 
dustry, when it was desired to employ the linear 
strips at an intermediate point for sound and 
picture reproduction, and the like. The gist of 
respondent's contention is that by the addition 
of the flywheel to this familiar mechanism the 
patentees have succeeded in producing a new 
type of machine for recording and reproducing 
sound by the photographic film method. It is 
insisted that the new device, because of its 
greater accuracy and precision of film move- 
ment, is so useful and constitutes such an ad- 
vance in the sound motion picture art as to 
entitle it to the rank of a patentable invention." 

Cites Rejection of Edison Application 

The court, in this connection, pointed out that 
an application by Thomas A. Edison in 1879 in 
connection with his phonographic work was re- 
jected "as covering the 'use of a fly wheel as 
ordinarily used with machinery for the purpose 
of securing uniformity of motion.' Upon recon- 
sideration the claim was again rejected on the 
ground that the adaptation of the flywheel re- 
quired only the exercise of 'ordinary good judg- 
ment' and not the inventive faculty. 

"An improvement to an apparatus or method, 
to be patentable, must be the result of invention, 
and not the mere exercise of the skill of the 
calling or an advance plainly indicated by the 
prior art. 

"The patentees brought together old elements, 
in a mechanism involving no new principle, to 
produce an old result, greater uniformity of 
motion. However skilfully this was done, and_ 
even though there was produced a machine of 
greater precision and a higher degree of motion- 
constancy, and hence one more useful in the art, 
it was still the product of skill, not of invention. 

"Moreover, the record fails to show that 
there was any long-felt or generally recog- 
nized want In the motion picture industry 
for the device defined by the flywheel 
claims, or that the use of sound motion 
pictures was delayed by the inability of 
those skiled In the art to add a flywheel 
to the apparatus in order to give the de- 
sired uniformity of motion to linear phono- 

With respect to the disclaimers filed by Tri- 
Ergon seeking to add the flywheel to two other 
claims, the court held that the statutes did not 
permit the addition of a'new element to a com- 
bination previously claimed, whereby the patent 


Floods of job applications, buoyed 
on a current of cmriously identical 
willingness of each xvriter "to go to 
Central or Sotith America and become 
one of your employees in whatever 
district you see fit to place me", mys- 
tified the Universal studio, to which 
the letters were addressed, and the 
company's foreign department, to 
which they were referred. Inquiries 
finally brought the following explana- 
tion from one of the applicants: 

"It happened that I was looking 
for work and a man neatly dressed 
stepped up to me and asked -me if I 
would be interested in foreign serv- 
ice. I replied that 1 would, and he 
said that for twenty-five cents he 
would give me a model form of ap- 
plication and a concern I could write 
to, so he gave me ymirs. You know 
that anyone out of work would be 
willing to gamble a quarter if he 
thought he coidd get a job, and I be- 
ing in that position paid him a 

The trail of the "man neatly 
dressed" was traced by postmarks of 
the application letters from Utica, 
N. Y., to Culver City itself. 

originally for one combination is transferred 
into a new and different one for the new com- 

Involved in the Paramount case was a claimed 
patent for a method of producing a single photo- 
graphic film by printing upon it a dual picture 
record and a sound record from separately ex- 
posed and developed negatives. 

Pointing to the need of synchronization of 
sound and picture records for successful opera- 
tion of the talking picture, the court explained 
that this has been accomplished by the manner 
in which the two records are printed upon a 
single film. 

"It is Important to indicate the more 
significant features of the sound reproduc- 
tion procedure and mechanisms which are 
not embraced in the claims," the court 
continued. "The patent does not claim 
either a method or a device for recording 
or for reproducing sound, or a method of 
synchronizing the two records, or the use 
of a single film In the reproduction of 
combined sound and picture records, or 
any method or device for printing the 
positive record from the two separate 

"An examination of the prior art can leave 
no doubt that the method, as thus described and 
clearly restricted by the patent, lacks novelty 
and invention," the court found. 

"This use of an old method to produce an 
old result was not invention," the court de- 
clared. "To claim the merit of invention the 
patented process must itself possess novelty. 

The application of an old process to a new and 
closely analogous subject matter, plainly indi- 
cated by the prior art as an appropriate subject 
of the process, is not invention. However wide 
the difference between the procedures and re- 
sults of sound reproduction from film on the one 
hand, and picture reproduction on the other, 
the method of producing photographic sound 
and picture records and uniting them on the 
positive film are identical, for both sound and 
picture records, from the time of exposure of 
the negatives until the single film is completed. 
With knowledge of the well understood ad- 
vantages of the union of the two records on a 
single film, it required no more than the ex- 
pected skill of the art of photography to use an 
old method of printing photographically the two 
negatives upon a single positive. 

"Against this conclusion respondents throw 
the weight of voluminous evidence, showing the 
practical utility and widespread use of, the pat- 
ented process, which prevailed with the court 
below as sufficient to establish invention," it 
continued. "It is said that, however simple and 
obvious the method may appear to be now that 
it is in successful use, no one before the pat- 
entees had used it for producing the union of 
a sound and picture record. 

"But the state of the motion picture 
art, as it is disclosed by the present rec- 
ord, indicates that there was no generally 
recognized demand for any type of film 
record, for the reproduction of sound to 
accompany motion pictures, until after the 
present patent was applied for. 

"The bare fact that several inventors, in the 
early stages of sound reproduction, working 
independently, of whose knowledge and skill 
in the photographic art we know little or noth- 
ing, failed to resort to a method, well known 
to that art for printing a combination film for 
which there was then no generally recognized 
need, does not give rise to the inference of 

Meanwhile, the Department of Commerce at 
Washington received from Trade Commissioner 
George R. Canty, at Berlin, the following re- 
port pertaining to the double-printing patent in 
Germany : 

"Action by the Reichs Patent Office, in Ber- 
lin, on January 31, 1935, in declaring void Tobis' 
double-print patent is a point of great interest 
both to the German and American film indus- 

"On December 22, 1934, the German Supreme 
Court, at Leipzig, sustained decisions of two 
lower courts in the case of Ufa-Afifa and Hu- 
bert Schenger versus the Tobis, which read 
that the double-print methods of these com- 
panies contravened the patent held by the Tobis, 
which the latter secured from the Tri-IJrgon 
group in 1928. 

"In August, 1934, Friess A. G., a manufac- 
turer of sound film recording sets, petitioned the 
Reichs Patent Office to declare void the Tobis 
patent in question on the ground that there was 
a prior publication of it in 1913, filed by one 
Friedrich Reimer. The Patent Office upheld 
this contention, and also found fault, because 
of prior publication, with another section of the 
patent specification which 'restricts the joint 
shooting of sound and picture on one negative 
film, with the contention that this negative is 
cut longitudinally in two before developing in 
order to enable an independent developing of the 
two parts.' 

"It is expected that the Tobis will appeal 
this decision before the German Supreme Court, 
at Leipzig, but trade opinion in Germany veers 
toward the viewpoint that the Patent Office's 
decision will be upheld, thus throwing the entire 
question wide open again." 



March 9. 1935 


How Can Writers Write If 
They Don't Know What's 
Going On? Asks Producer 

There has got to be a revolution in Holly- 
wood. Samuel Goldwyn said so this week. 
The revolution — mentioned casually during 
Mr. Goldwyn's annual spring statement to 
the New York trade press — will involve a 
complete cleaning up of the writer situation 
in the production colony, with special em- 
phasis on a general weeding out of persons 
whom Mr. Goldwyn referred to as "bums." 
Good writers will be placed on a royalty 
basis, "like in the theatre." The "bums" 
will get nothing. 

"At the present time Hollywood is merely 
a stop-over place for good writers," he said. 
"They come to work for ten weeks, between 
periods of writing their own plays and 
just to make enough money to carry them 
over until their next play or book comes out. 
They do not realize the possibilities of the 
screen, or, if they do, the present system 
does not hold sufficient rewards for them." 

Mr. Goldwyn, having been confined by a 
cold to his spacious apartments on the 33rd 
Hoor of the Waldorf-Astoria for several 
days, reclined at ease in a pair of baby-blue 
pyjamas and a multi-colored bath gown, and 
considered the situation. 

Extended Contracts "Silly" 

"I feel very strongly that the writer situ- 
ation is wrong," he said. "The entire busi- 
ness is in the hands of the writer. If it 
weren't for the writer there wouldn't be 
any picture business. This idea of signing 
up writers for three or nine years is silly. 
You cannot expect them to work to order 
and they cannot be limited as to time." 

Mr. Goldwyn said that no writer should 
stay in Hollywood for more than six months 
at a time, that, under the present "system," 
they lose their perspective of world affairs. 

"How can they write if they don't know 
what's going on in the world?" he asked. 

What Hollywood must do, Mr. Goldwyn 
insisted, is to give writers a definite incen- 
tive to create big stories and an opportunity 
to make as much money as producers. 

"This business of nnaking a writer punch 
a time clock is ridiculous. Hollywood must 
show writers that they can make as much 
money out of a fine picture as they would 
from a successful play. That can be done 
only by letting the writer participate In 
the profits, getting royalties. That will en- 
courage him to do an enthusiastic, crea- 
tive job and follow his story through re- 
hearsals and filming until it is completed." 

Under what Mr. Goldwyn continually re- 
ferred to as the present "system," a writer 
sells an idea to the studio for a picture, but 
he is not paid to develop that idea, to follow 
it through until the picture is completed. 

"That business of taking a story and leav- 
ing it on the doorstep of a studio for some 
other writer to develop is like leaving a child 
on the doorstep of an orphan asylum. The 

result is the same — it grows up to be an 

As proof that he intends to be the father 
of the forthcoming revolution in Hollywood, 
Mr. Goldwyn pointed to the fact that he has 
signed Miss Rachel Crothers to do an origi- 
nal on a royalty basis. 

Production costs, too, came in for a lam- 
basting at the tongue of the producer. They 
are far too high, he said, higher than at any 
time in the industry's history. 

"They are getting to the point of being 
ridiculous. There are too many incompetent 
people in this business being paid excessive 
salaries. Production costs are going up and 
box office prices are going down. Someone 
is going to get hurt." 

Mr. Goldwyn declined to quote any fig- 
ures. There are, he said, too many figures 
on the industry being bandied about. 

Plans "Goldwyn Follies" 

Mr. Goldwyn said he will make six fea- 
tures for release on United Artists' 1935-36 
schedule. The first of these is to be "The 
Dark Angel," which Ronald Colman and 
Vilma Banky made as a silent for Mr. Gold- 
wyn several years ago. He said definitely 
Miss Banky will not be re-engaged for the 
part, but he would neither confirm nor deny 
reports that Mr. Colman will play in it. 

"Nothing has been set as yet," he said. 
"I don't believe players should appear twice 
in the same part." Sidney Franklin will 
direct the first on the new season schedule, 
he said. 

The second picture will be "Barbary 
Coast," with Miriam Hopkins, and Howard 
Hawks directing. The third will be an un- 
titled Eddie Cantor picture and the fourth 
Miss Crothers' original. The fifth produc- 
tion will be a revue entitled "The Goldwyn 
Follies" and the sixth an Anna Sten produc- 

Mr. Goldwyn was very mysterious about 
"The Goldwyn Follies." He said he has en- 
gaged three outstanding personalities of the 
musical comedy stage and films, but he would 
not reveal their identities. 

Of the Legion of Decency Mr. Goldwyn 
had high praise. 

"Personally, I think it has been a good 
thing and Joe Breen (of the Production 
Code Administration) has done a wonderful 
job. Of course," he added modestly, "the 
Legion has been no liability to me. I've 
never had any trouble with censors and I 
don't expect to. I haven't changed my 
methods one bit." 

Mr. Goldwyn advanced the theory that one 
reason for the existence of the Legion is 
that there have always been "weak sisters" 
at the box-office and that the industry at- 
tempts to make too many pictures. 

"The industry is not capable of making 
more than 50 features annually," he said. 
In the next breath he said: 

"There are too many theatres, not too 
many pictures." 

Mr. Goldwyn, in line with his admoni- 
tion that creative workers should not remain 
in Hollywood more than six months at a 
time lest they lose their perspective on world 
affairs, plans to sail for Europe soon. 

Studios Set For 
Florida— Schenck 

Joseph M. Schenck this week in Miami 
proposed that Florida raise |10,000,000 by 
popular subscription to build motion picture 
studios to be rented to the industry for a 
stipulated $250,000 annually, according to 
Associated Press dispatches from Miami on 
Wednesday. Mr. Schenck is quoted as say- 
ing the film industry is apprehensive of 
California's tendencies toward "soaking the 
rich," as exemplified in the bill providing a 
35 per cent tax on industrial incomes, and 
is ready to move from Califormia to Florida. 

The first demand of the industry, if it 
migrated, he is reported as saying, would 
be for guarantees against future "gouging" 
by tax authorities. For this reason, he ex- 
plains, it would ask that the people's money 
be invested in the physical plants at a speci- 
fied interest rate not exceeding 2^/^ per cent. 

Mr. Schenck planned to confer this week 
with Sidney R. Kent, president of Fox Film 
Corporation, at Boca Raton. Fox, he said, 
as well as the other major companies, would 
be forced to join an exodus from California 
if the proposed income tax was levied. 

Assemblyman Morgan, before the Cali- 
fornia legislature, called Mr. Schenck's state- 
ment "propaganda." 

Exhibitors Meet Feist 
On Chicago "Invasion" 

Indicating that plans by Loew to invade 
Chicago with a number of its own theatres 
are more than threats by the circuit to bring 
into line exhibitors who refuse to do business 
with Metro-Goldwyn-Mayer in that city be- 
cause of MGM's percentage demands, ex- 
hibitor leaders at the MPTOA convention in 
New Orleans last week conferred with Felix 
F. Feist, MGM general sales manager, in an 
effort to stay the Chicago program. Loew's 
reported plans to build from eight to 10 
theatres in the Illinois metropolis are in 
answer to refusal by Essaness and Schoenadt 
circuit to accept MGM's percentage terms. 
These circuits buy through booking combines 
maintained by Aaron Saperstein. 

Mr. Feist is understood to have said that 
the matter is out of his hands and a decision 
rests with the theatre department. 

One hundred Chicago theatres have turned 
down MGM because of the percentage and 
preferred playing time demands, it is stated, 
costing it from $6,000 to $7,000 weekly. 

Tom Pettey Named 
Assistant to Hays 

Tom Pettey, of the Neiv York Herald- 
Tribune reportorial staff, has joined the 
Motion Picture Producers and Distributors 
of America as assistant to Will H. Hays in 
the public relations department. 

Mexican Union Calls 
Strike in Capital Houses 

A strike in all Mexico City theatres em- 
ploying its members was called for Friday of 
this week by the National Cinematographic 
Workers as a sympathy move in support of 
a local strike at Monterey on the border. 

March 9 , 1935 




Universal's Protest at News 
Commentator's Statement 
Brings Public Retraction 
Over the Air by James Fidler 

At last the chattering radio has said too 
much about the movies and has had to take 
it back — on the air. 

Through Universal Pictures Corporation, 
the motion picture industry, so long subject 
to the gossip mongering of the broadcasting 
columnists, this week hit back, demanded 
retraction, and for the first time on record 
had the courage to point out to its younger 
competitor in entertainment the power of 
the screen through the newsreel. 

The controversy started Wednesday eve- 
ning, February 27, when James Fidler, 
self-styled "Hollywood news commentator," 
made the unequivocal statement on the 
"Tangee Hour" over the National Broad- 
casting system that a sale of Universal 
Pictures to Warner Brothers had been con- 
summated, that papers had actually been 
signed, and that Carl Laemmle had thereby 
sold the company "down the river." 

To Mr. Fidler the remark merely added 
another to his long list of inaccuracies in 
the name of gossip columning. By Uni- 
versal it was viewed as an immediate 
jeopardization of its goodwill in business, 
and its production and sales morale. Some 
12,600.000 listeners of the 24 NBC "Blue 
Network" stations, acording to radio esti- 
mates, had heard the statement. 

Robert H. Cochrane, vice-president of 
Universal and general manager in New 
York, complained to all parties concerned, 
including M. H. Aylesworth, president of 
National Broadcasting Company, and the 
Tangee sponsors, the cosmetic makers. 

Fidler Instructed to Apologize 

It is said that for the first time the signifi- 
cance of the newsreels' capacity for reaching 
the public was suggested as an instrument 
of defense of the motion picture. It was 
made clear, so the report goes, that failing 
redress on the air Universal would find it 
necessary to go to its public on the screen 
through its newsreel. 

Shortly Mr. Fidler was instructed to 
apologize on the following broadcast, 
Wednesday of this week, as follows : 

"Last week I broadcast a statement that 
Universal Pictures had been sold. I based 
my announcement on what I considered good 
authority. At the same time I spoke of how 
much I would regret the passing of Carl 
Laemmle, Sr., from the field of producers 
because he is a man loved by all Hollywood. 
Well, my information was wrong. 'Uncle 
Carl' definitely informs me that his company 
has not been sold. For 25 years, various 
persons have tried to buy Universal and for 
25 years Uncle Carl has held on to his baby. 

"Even though it has meant this retraction, 
I am happy that my information was incor- 
rect and that Laemmle has not sold his com- 
pany. I don't think Hollywood could ever 
be the same without him and I wish another 

25 years of success to the 'grand old man 
of Hollywood— Uncle Carl.' " 

Hollywood has known Mr. Fidler for a 
long time in many roles. 

James M. Fidler was first heard of on 
Hollywood Boulevard in 1925, an ambitious 
youngster of 25 who had come out of the 
Midwest, his heart set on Hollywood con- 
quest. Immediately he became engaged in 
that form of motion picture star exploitation 
known as "freelance" publicity, obtaining as 
his clients, among others, Ben Lyon, Bebe 
Daniels, Lina Basquette and Sue Carol. 

He soon provoked discussion in studio cir- 
cles by "plugging" and selling some dozen 
varieties of perfumes to housewives and 
younger unsophisticates in the hinterlands 
who had sent "fan" letters of adoration and 
approbation to players. 

Mr. Fidler then wrote, always as a free- 
lance, for the fan magazines, and after sev- 
eral years crystalized his ambitions, in 1933, 
by getting appointment as western editor 
of Screenland, in charge of studio coverage 
for this monthly fan journal published in 
New York by V. G. Hainbucker, under the 
editorship of Delight Evans. 

Mr. Fidler assured Editor Evans by tele- 
phone from Plollywood Wednesday that in 
the future his radio announcements will be 
"more constructive." He promised that 
there will not be a recurrence of the present 

Turned to Broadcasting 

Mr. Fidler still holds the title of Screen- 
land's western editor, although apparently 
he has devoted in recent months much of 
his time to other pursuits, principally in con- 
nection with broadcasts over NBC net- 

Screenland's publishers have hastened to 
point out that the publication has no respon- 
sibility for their Hollywood editor's air esca- 

Mr. Fidler's first appearance on the air 
came last year when John Swallow in Los 
Angeles engaged him for NBC's weekly 
"Hollywood on the Air" program as master 
of ceremonies. "Jimmy's" glib tongue stood 
him well, until some months later Mr. Swal- 
low was succeeded by Eddie Eckels, pio- 
neer publicist who has spent much of his 
press agentry days in the RKO theatre and 
studio divisions. 

Fidler received at the hands of Mr. 
Eckels his first setback in radio when he was 
demoted from the exalted position of 
master of ceremonies to that of plain "news 
commentator" — or, in this case, Hollywood 
Broadcasting columnist. Subsequently Mr. 
Eckels discontinued the relation for "non 
cooperation." It was charged that Mr. 
Fidler "could not take orders from a su- 
perior," and, besides, insisted upon "hog- 
ging" the show. Jack Grant, now the edi- 
tor of "Hollywood Magazine," succeeded 
him on the air. 

Mr. Fidler then organized 31 "Fidler Fan 
Clubs" on his own and succeeded in enticing 
10,000 fans to his membership roster. The 
organization proceeded along its merry way 

Broadcaster Who Sold Per- 
fumes to Writers of "Fan" 
Letters Was Dropped From 
Two Previous Engagements 

until Mr. Fidler started to advise his fol- 
lowers to stay away from certain pictures 
for reasons unrevealed. There were loud 
repercussions from the studios and else- 

In September of 1934 he returned to the 
air on the Sunday morning national broad- 
cast sponsored by Maybelline, a mascara 
liquid for eyelash makeup. After three pro- 
grams this engagement ended. The reasons, 
Hollywood had heard, were that the com- 
mentator had demanded more money from 
his sponsors. It was said his costs included 
fees to socalled "guest" stars who he sup- 
posedly had induced to appear without 
charge on the strength of his position. Re- 
gardless, Maybelline appealed to his chief, 
Miss Evans, in New York, and succeeded 
in having him relinquish his contract for 
other broadcasts — at a price. Ironically, 
Jack Grant again succeeded him. 

His third broadcasting engagement is the 
present one, with the Tangee cosmetics na- 
tional hookup Wednesday evenings over the 
24 "Blue Network" stations. The sponsors 
of Tangee, trade name for the facial prod- 
ucts manufactured by George W. Luft Com- 
pany, of New York, could not help but hear 
some of the vigorous condemnations against 
the type of material broadcast by their 
"Hollywood news commentator." 

M.P.P.D.A. Demanded Ouster 

Recently he told the same 12,600,000 NBC 
listeners on the Tangee Hour that the prin- 
cipal stars of Paramount Publix in Holly- 
wood had deserted the company because 
Adolph Zukor had discharged Emanuel 
Cohen as production executive. 

The Motion Picture Producers and Dis- 
tributors of America, Inc., appealed to Mr. 
Aylesworth to force an apology and de- 
manded that Fidler be immediately removed 
from the air. Mr. Aylesworth was under- 
stood to have promised attention. 

George Brent, a Warner Brothers star, 
and Fred Astaire, Radio Pictures dancer 
and comedian, are among the Hollywood 
players who have made complaint about the 
nature of the remarks broadcast by Fidler 
concerning their private and public lives. 
The fact that Mr. Astaire is now being 
built-up for theatre box offices by RKO, 
which is in the same RCA family with NBC, 
apparently has no bearing on the matter. 

Mr. Fidler has often been in controversy 
with the Hollywood Hays organization be- 
cause of the nature of fan magazine articles 
which he has submitted to them for approval 
before publication. 

The general impression in Hollywood is 
that Mr. Fidler is also the Hollywood cor- 
respondent of a well known New York gos- 
sip columnist. 

Mr. Fidler, in biographical information 
apppearing in Motion Picture Almanac, 
admits to five hobbies : "golf, bridge, swim- 
ming, tennis and gossip !" 



March 9, 1935 


Substitution of Manufacturers' 
Tax for Adnnission Levy 
Would Have Films Pay 

Anti-motion picture legislation in a half 
dozen states this week was reaching a climax 
while in Washington, Congressman Pet- 
tengill of Indiana introduced a bill to outlaw 
block booking and blind selling of film to ex- 

Distributors are opposing general state 
sales tax bills with the argument that films 
are leased, not sold, to theatres and there- 
fore are not subject to such taxation. This 
plan was decided last week after a meeting 
of attorneys of the Motion Picture Produc- 
ers and Distributors of America. The dis- 
tributors already have won what are con- 
sidered important rulings of the Colorado 
and Iowa legislatures that advertising sales 
accessories are not within the scope of 
general sales taxes. 

Manufacturers' Tax Proposed 

At Washington, repeal of the nuisance 
taxes, including that on admissions, and 
substitution of a general manufacturers' 
excise sales tax of 3 per cent was proposed 
in a bill prepared by Representative Clar- 
ence J. McLeod of Michigan. The proposed 
tax would apply to films. 

In California the legislature had 12 of 
Governor Merriam's tax proposals and a 
score of independent measures up for con- 

In Connecticut, exhibitors were fighting 
a 5 per cent gross tax pending, also a cen- 
sorship bill. Exhibitors in that state already 
are paying 11 different kinds of taxes. 

10 Per Cent More on Shows Asked 

In Iowa a bill has been introduced to 
assess an additional 10 per cent on shows, 
films and all athletic events staged for profit. 

In Maryland, Senator John G. Callan, who 
had fought for Sunday showings, introduced 
a bill to double the license fees for theatres. 
All houses charging over five cents admis- 
sion would be affected. 

Missouri exhibitors were rallying to fight 
the Shea state censorship bill. The ways 
and means committee of the Missouri legis- 
lature killed a bill calling for a 10 per cent 
amusement tax and another providing for a 
5 per cent sales tax. 

In New York Assembly Bernard J. Mo- 
ran introduced a bill calling for a graduated 
footage tax running from one cent a foot 
on theatres of more than 5,000 seats in a 
community of more than 1,000,000 popula- 
tion down to two-tenths of a mill per foot on 
theatres of less than 2,000 seats in com- 
munities of less than 10,000 population. 

Fight Ohio Measure 

Distributors in Ohio announced their in- 
tention of a fight to the finish against the 
Waldvogel bill, passed by the Senate, pro- 
hibiting designated play dates from being 
specified in contracts, a measure sponsored 
by the Independent Theatre Owners of 
Ohio. The Ohio House judiciary committee 
reported out a bill to increase the state's 
censorship fees to $3 for the first reel and $2 

for each subsequent reel. Present rate is 
$1 per reel. 

In Oregon, under a 10 per cent amuse- 
ment tax bill, theatres would be required to 
purchase their supply of admission tickets 
from the state treasurer. 

A steering committee has been appointed 
in Pennsylvania to direct the fight of ex- 
hibitors against a 10 per cent state tax on 

In Utah, increase in the amusement tax 
to 10 per cent is included in a proposal for 
expanding the scope of the state sales tax 
to provide funds for the benefit of teachers. 

A Senate bill to legalize Sunday shows in 
Kansas was killed in committee. 

Exhibitors Rally 
Against New Tax 

A great rally of exhibitors and others op- 
posed to the proposed Pennsylvania 10 per 
cent tax on gross receipts of theatrical and 
other amusement enterprises was held in 
Harrisburg Tuesday. The theatre men, 
from every section of the state, first met in 
the Penn-Harris hotel, where they mapped 
out a plan of campaign, and then adjourned 
to the hall of the House of Representatives 
where a hearing on the $203,000,000 bill 
was held before the ways and means com- 
mittee. The bill is sponsored by Governor 

In the all-afternoon session speakers 
against the bill brought out the fact that the 
tax would have to be passed on to the pub- 
lic, as theatres could not possibly absorb it. 
This, it was declared, would mean a great 
reduction in attendance, as the greater mass 
of motion picture patrons are relatively poor 
persons, and would drive many theatres to 
the wall. 

Confesses Attennpt on 
Operator's Life for Job 

Clarence Rusk of Connersville, Ind., con- 
fessed last week to an attempt on the life 
of Leroy Burns, by placing a bomb in Burns' 
car, and admitted he hoped to get the job 
as projectionist at the Auditorium theatre, 
held by his intended victim. Rusk had been 
working as Burns' assistant at the theatre 
for six months without pay, having been 
promised a regular job as soon as a vacancy 
occurred. Mac McCain, regular assistant 
to Burns, was also to have been a victim. 

When he went to the police with a holdup 
story, Rusk was questioned and finally con- 
fessed that he had made the bomb, which 
was so connected as to explode when the 
ignition of the car was turned on, from ma- 
terials stolen from a sporting goods store 
near the theatre. 

Pryor Contract Dropped 

The seven-year contract of Roger Pryor, 
player, with Universal, has been terminated 
by mutual consent. He will act as a free- 
lance player in the future. 

Court Postpones 
St. houis Action 

Postponement from March 4 to March 15 
of the date for arraignment of major dis- 
tributors and their officers under indictment 
for violating the Sherman anti-trust law 
and Clayton Act in St. Louis was ordered 
last week by Federal Judge Charles B. Davis. 
Defendants are understood to have asked 
additional time for preparation of their 
pleadings. Date of trial will be set by the 
judge after the arraignment. 

The defendants in the important action 
are the three Warner Brothers units, War- 
ner Bros. Pictures, Inc., Vitaphone Corpo- 
ration, and Warner Bros. Circuit Manage- 
ment Corporation; General Theatrical En- 
terprises, Inc. ; Paramount Pictures Distrib- 
uting Company, Paramount Pictures Dis- 
tributing Corporation, and Harry M. War- 
ner, Abel Cary Thomas, Herman Starr, 
Gradwell Sears, George J. Schaefer and 
Ned E. Depinet. 

In Chicago, Judge Woodward of the 
United States district court this week set 
April 8 for calling witnesses and the giving 
of testimony in the Roder-Rubin case, mark- 
ing an initial victory for the plaintiffs over 
the defendants' motion for dismissal. The 
setting of a trial date upsets the contention 
of defense counsel that the case belongs be- 
fore code boards. The case is the result of 
a suit filed by James Roder, owner of the 
Astor theatre and Jack Rubin of the Public 
theatre, both against major distributors. The 
primary defendants in both suits are circuit 
officials who, it is charged, conspired with 
distributors to bring about the elimination 
of double features and the establishment of 
a 15-cent minimum admission scale. 

In Sioux Falls, S. D., this week, Federal 
Judge Lucius J. Wall dismissed the $7,500 
damage suit brought against Paramount Dis- 
tributing Corporation and Albert R. Ander- 
son, local Paramount Exchange manager, by 
Richard H. Wagner, operator of the Capi- 
tol theatre, who charged that Paramount had 
conspired with other major companies not 
to supply him with pictures. 

U. S. Justice Agents May 
Advise on Anti-Crime Films 

Agents of the United States Department 
of Justice will assist, in an advisory ca- 
pacity, in the production of anti-crime pic- 
tures planned by several Coast producers, 
it was determined at a series of conferences 
last week among Will H. Hays, president of 
the Motion Picture Producers and Distribu- 
tors of America, Attorney General Homer 
S. Cummings and J. Edgar Hoover, chief 
of the Bureau of Investigation, at Wash- 
ington. The attorney general had previ- 
ously declared he did not favor production 
of films with justice agents pictured as 

Carl Milliken, secretary of the MPPDA, 
addressed the New Jersey crime conference 
last week under the auspices of Governor 
Harold G. Hoffman. Mr. Milliken said in 
part : "The motion picture industry, through 
Mr. Hays, offers to cooperate with any na- 
tional or state program which may be 
adopted to arouse public opinion to the 
needs of law enforcement and crime preven- 

March 9, 1935 




Is Allene Fransen, of the Omaha 
theatre, Omaha, winner of a 
Universal-sponsored contest for 
"The Good Fairy." 

FROM ENGLAND. (Left) Arrive 
Michael E. Balcon, GB produc- 
tion head, and Mrs. Balcon, he 
in search of American film tal- 
ent, and now on the Coast. 

LIBRETTIST. (Right) Otto Har- 
bach, famed musical show book 
and lyric writer, asforthe original 
of Radio's "Roberta," address- 
ing a teachers' group in New 

MME. VERSATILITY. Might well be the second name of HOMEWARD BOUND. To Hollywood from New York is this 

Mme. Suzanne Silvercruys, internationally known actress, author, group of Fox executives, and their wives. From the left in the 

playwright and sculptor, soon to appear in a Broadway produc- front row: Mr. and Mrs. Eugene Ford, Mrs. John Blystone, 

tion before she goes on to the Coast and the motion picture. Mrs. John Stone; rear: John Blystone (left) and John Stone. 



March 9 , 19 3 5 


DIRECTOR. Frank Capra, for "It THREE BESTS. Actor, Clark Gable; Actress, Claudette Col- 
Happened One Night." bert, in Best Picture, Columbia's "It Happened One Night." 

ADAPTATION. Robert Riskin, for 
"It Happened One Night." 


ORIGINAL. Arthur Caesar, 
Manhattan Melodranna, Metro. 

ART. Cedric Gibbons, for CAMERAMAN. Victor Milner, 
M-G-M's "Merry Widow." for Paramount's "Cleopatra." 

SOUND. John Livadary, Co- 
lumbia's "One Night of Love." 

COMEDY SHORT. "La Cucaracha," Pio- 
neer-Radio subject in color. 

CARTOON SHORT. "The Tortoise and NOVELTY SHORT. "City of Wax," Wood- 
the Hare," Walt Disney - United Artists. ard-Educational-Fox. 

SCORING. Lou Silvers, Co- 
lumbia's "One Night of Love." 

ASSISTANT DIRECTOR. John Waters for Metro-Goldwyn- 
Mayer's production, "Viva Villa." 

BEST SONG. Con Conrad and Herb Magigson, for "The 
Continental," in Radio's "The Gay Divorcee." 

SCIENTIFIC. Class II. Electrical Research Products, Inc., 
for development of Vertical Cut Disc Method of Recording. 

SCIENTIFIC. Class III. Columbia Pictures for application 
of Vertical Cut Disc Recording in production "One Night 
of Love"; and to Bell & Howell Company for develop- 
ment of Fully Automatic Sound and Picture Printer. 

SPECIAL AWARD. Shirley Tem- 
ple, Fox, greatest contribution. 

March 9 , 1935 




Program Does Not Include Pro- 
duction, Aims at Develop- 
ment of Its 49 Per Cent of 
Dupont Stock Holdings 

The Webb plan of reorganization of Pathe 
Exchange, Inc., pending many months, was 
approved by an extraordinary session of the 
stockholders this week in New York. 

This move assures the continued operation 
of Pathe, one of the oldest concerns in the 
industry, surviving and emerging from a 
period of ordeal involving the sale of its 
production assets to RKO in 1930 and a 
subsequent period of internal strife between 
a policy of liquidation and a policy of re- 

Despite the endless rumors current, Pathe 
will not engage in production, under the 
present policy. Production activity by Pathe 
would be lawful under the terms of the RKO 
contract after the end of the five year period 
beginning at the date of sale. 

The program oi' the company as an- 
nounced appears definitely aimed at sup- 
port and development of the value of its 
largest single asset, 49 per cent of the 
stock of the Dupont Film Manufacturing 
Company, makers of raw stock. Pathe con- 
tinues and enlarges the activities of its big 
laboratories at Bound Brook, New Jersey, 
and will continue financing production on 
terms calculated to keep the printing plant 
busy consuming Dupont film. 

Other activities of the concern are likely 
to find expressions through such channels of 
affiliation as indicated by the chairmanship 
of the board of First Division Exchanges 
held by Stuart W. Webb, president of Pathe. 

The Pathe meeting, held Monday in New 
York, was pursuant to an amendment to the 
state's stock corporation law, which permits 
a supreme court justice to authorize an ex- 
traordinary meeting of shareholciers if the 
statutory quorum of two-thirds of the out- 
standing stock cannot be obtained because 
of indifference rather than opposition. 

Mr. Webb announced that the new com- 
pany, proposed under the reorganization, 
will be incorporated as soon as the Securities 
Exchange Commission has approved a new 
$2,000,000 issue of Pathe securities. Ap- 
proval will be sought soon. 

Following this approval, the Pathe board 
must ratify the plan and then dissolve the 
old company. A new board and new officers 
will then be elected. Few changes are ex- 
pected, Mr. Webb said. 

Security holders of the old company will 
be offered an exchange on the following 
basis : 

1. Each share of the present 8 per cent 
preferred stock will receive one share of 
new $7 convertible preferred and five 
shares of common stock in the new com- 
pany. The exchange will erase accumulated 
dividends of approximately $56 a share on 
the old Issue. 

2. Holders of Class A preference stock, 


on which there are accumulated dividends 
of about $28 a share, will be offered two 
shares of common stock in the new com- 

3. Each share of old common stock will 
receive one-twentieth of a share of new 

The new company in addition will be 
authorized to issue collateral-secured notes 
convertible into common stock in an amount 
not to exceed $4,000,000, issuance and rate 
to be left to the discretion of the directors. 

The existing issue of $1,987,500 of 7 per 
cent sinking fund debentures of the old com- 
pany, which otherwise would have matured 
on May 1, 1937, has been called in for re- 
demption May 1 of this year at the call 
price of 103 plus accrued interest. 

Giving effect to a complete exchange of 
securities in the new company for those of 
the old organization, there would be out- 
standing 8,000 shares of the new $7 pre- 
ferred and 573,000 shares of new common. 
Mr. Webb said application has been made 
for permanent listing of the new common 
stock on the New York Stock Exchange. 

Three stockholders at the Monday meeting- 
voiced opposition to the plan, describing it as 
placing a penalty on holders of the common 
stock to the advantage of holders of the 8 
per cent and Class A stock. Mr. Webb, who 
presided, answered the criticism with the 
statement that there was an accumulation of 
unpaid dividends of more than $8,000,000 
on the preference stock and that without the 
reorganization common stockholders would 
have little chance of receiving dividends un- 
til that deficiency had been adjusted. 

Mr. Webb also told the meeting that Pathe 
definitely will not engage in active produc- 

In reply to a query from a stockholder, 
Mr. Webb said Pathe expects to realize a 
substantial amount on the $1,690,549 of 

Will Enlarge Activities of 
Bound Brook Laboratories 
and Continue Financing Pro- 
duction; New $2,000,000 Issue 

Radio-Keith-Orpheum notes which it holds, 
when RKO is reorganized. 

Directors of Pathe Exchange include, in 
addition to Mr. Webb, Theodore C. Strei- 
bert, Charles A. Stone, Arthur Sewall, 2nd, 
Arthur 8. Poole, Robert W. Atkins, Paul 
Fuller, Jr., Henry J. Guild, Charles B. Wig- 
gin and George S. Montgomery, Jr. 

Officers are: Stuart W. Webb, president; 
Arthur B. Poole, vice-president; T. P. Loach, 
secretary, and Ellen U. Keough, assistant 

Mr. Webb came into the motion picture 
industry in 1928 with FBO in the period 
when that concern was under the control of 
Joseph P. Kennedy and the late Guy C. 
Currier of Boston. Coincident with the 
taking over of Pathe management by Mr. 
Kennedy, Mr. Webb transferred his attentions 
to that concern. Subsequent to the sale of 
Pathe's studio and production assets to RKO, 
and Mr. Kennedy's gradual withdrawal from 
active participation in the company's affairs, 
management passed to Mr. Webb who be- 
came president April 26, 1932, supported by 
a voting trust organized among stockholders 
opposed to the prior policy of liquidation. 

The new Pathe issue now comes before the 
Securities Exchange Commission for formal 
approval — and Joseph P. Kennedy is chair- 
man of the Commission, an appointee of 
President Roosevelt. 

Mr. Webb was born in Worcester, Mass., 
in 1883. He was educated at Brookline 
High School and Harvard University. He 
first worked for City Trust Company in 
Boston, and in 1909 was made assistant 
secretary of that bank. Later he was assist- 
ant secretary of Old Colony Trust Company 
and was treasurer of Eastern Manufacturing 
Company. In 1914 he was made vice-presi- 
dent of the Old Colony and chairman of the 
board of Eastern in 1916. In 1919 he be- 
came a partner in Bon and Goodwin and in 
1922 was elected president of Eastern Man- 
ufacturing Company. 

A spectacular but unpublished chapter of 
Mr. Webb's career was his series of financial 
exploits in the purchase of the outstanding 
stock of the Ford Motor Company in behalf 
of Henry Ford. This operation occupied 
some six months of negotiations and involved 
the expenditure of $28,000,000 of Mr. Ford's 

Mr. Webb is a director of Dupont Film 
Manufacturing Corp., in which Pathe holds 
49 per cent of the stock. In addition he is a 
director of Trans-Lux Daylight Screen Cor- 
poration, president and director of Bright- 
water Paper Company, and chairman of the 
board of First Division Exchanges. Mr. 
Webb, with John Curtis, vice-president of 
First Division Productions, was instrumen- 
tal in acquiring for First Division the dis- 
tribution of The March of Time reel, pro- 
duced by the publishers of Time Magazine. 



March 9 , 19 3 5 

The chart, based on Mofion Picture Herald's tabulation of box office grosses, 
shows the business done in each of three midwestern key cities during the eleven 
weeks from Dec. 8, 1934 to Feb. 16, 1935. In each city, the receipts for the first 
week of the period are taken as 100 per cent for that city. 

Louisville Film Council 
Praised for Year's Work 

The Better Films Council of Louisville 
held a two-day conference at the Brown 
Hotel recently, at which Dr. Edgar Dale, 
director of educational research at Ohio 
State University, said that appreciation of 
good films is being taught admirably in 

Mrs. Lawrence F. Speckman, vice-chair- 
man of the Better Films Council, outlined a 
plan of cooperation which can be worked out 
by parents in overseeing the films their chil- 
dren are to see. The Council is publishing 
lists of recommended films from time to 
time. Mrs. E. F. Horine, chairman, pre- 
sided at the conference. 

Music Publishers' Code 
Gets Federal Approval 

The National Industrial Recovery Board 
this week announced its approval of a code 
of fair competition for the music publishing 
industry, effective March 18. 

The code provides a basic maximum work 
week of 38 hours and a basic minimum week- 
ly wage of $15. It sets up separate code 
authorities for the standard and popular 
music divisions, with a coordinating com- 

$5,314,145 in Claims 
On Saenger Allowed 

Claims against Saenger Theatres totaling 
$4,038,425 and of $1,275,720 against Saenger 
Realty, Inc., were allowed by the federal 
court at New Orleans this week for the 
purposes of participating in the plan of re- 
organization of both companies. 

Final determination of several other claims 
has been reserved pending further court con- 

Belgium Trade Deal 
Cuts Raw Stock Duty 

Reduction of the duty on raw stock from 
four-tenths of a cent to two-tenths of a cent 
per foot is provided in the reciprocal trade 
agreement concluded with Belgium, it was 
indicated in Washington last week. The 
new duty will apply to film of standard width 
of one and three-eighths inches, or more sub- 
ject to duty in equal proportion thereto. 

Adelaide Fitz-Allen, 
Stage, Radio Star, Dies 

Adelaide Fitz-Allen, veteran actress of 
years ago, and more recently a popular radio 
personality, died last week in the Sherman 
Square Hotel, New York, after an attack 
of pneumonia, at the age of 79. As the old 
witch, Nancy, in the WOR air series, "The 
Witch's Tale," which she has portrayed vo- 
cally for four years, Miss Fitz-Allen was 
known to thousands of listeners. 

Her stage career was long and successful 
and studded with the starring names of the 
greatest of yesterday's stage personalities. 
She toured America and Europe, and not- 
ably, starred with Alexander Savini. She 
appeared in several film short subjects. 

Warner Shifts Five 
New England Managers 

Five Warner New England managers 
have been transferred. They are George 
Hoover, from the State, South Manchester, 
to the Capitol, Springfield, Mass. ; Jack San- 
son, from the Colonial, Hartford, to the 
State ; David Sugarman, from the Embassy, 
New Britain, to the Colonial ; John Hesse, 
from the Capitol to the Roger Sherman, 
New Haven; John Grace, from the Strand, 
New Britain, to the Embassy. 

Dvvight Van Meter, manager of the first 
run Aldine, Wilmington, Del., has been 
transferred to the Astor, first run with 
vaudeville, at Reading, Pa. 

Balcon, Lee of GB 
To Confer on Coast 

Michael E. Balcon, production head of 
GB Productions, and Arthur A. Lee, vice- 
president, left New York this week for the 
Coast, where they plan to arrange for an 
interchange of stars. 

A. P. Waxman, advertising counsel for 
GB, has appointed Estelle Schrott as editor 
of the GB weekly sales drive publication, 
"The Big Push," in addition to handling fan 
magazine publicity. 

Cuba Asks Ban on "Rumba" 

The Cuban Government this week notified 
Paramount that unless its picture, "Rumba," 
is destroyed and an apology rendered to 
Cuba, all films of the company will be barred 
from the island, according to a wireless dis- 
patch to the New York Times. 

A. T. &T. Net/or 
'34 $121, 748, 729 

The American Telephone and Telegraph 
Company reports net income of $121,748,729 
for the year 1934, equal to $6.52 a share 
earned on 18,662,275 capital shares, which 
compares with net income of $137,456,776, 
or $7.37 per share in 1933. Dividends of $9 
per share were paid each year, resulting in 
a charge to surplus of $46 211,746 last year, 
against $30,503,699 in 1933. 

Operating revenues in 1934 were $39,447,- 
908, comparing with $86,695,109 in 1933, and 
net operating revenues after all expenses and 
depreciation were $19,874,069, comparing 
with $18,605,400 in 1933. Operating earn- 
ings after taxes totaled $14,509,906, against 
$13,653,460 during the previous year. 

Total income, including miscellaneous 
non-operating revenues', was $145,912,471, 
compared with $162,169,771 in 1933. No 
dividends were received from the subsidiary 
Western Electric Company, in either 1933 
or 1934, the company having a consolidated 
net deficit of $7,751,548 for 1934, against a 
deficit of $13,772,504 for 1933. 

Urges Birthday 
Ball Cooperation 

Lee W. Mofiitt, president of the Seville 
Amusement Company, and leading theatre 
operator of Owensboro, Ky., who, as chair- 
man of the local Birthday Ball and Ban- 
quets for the President, turned over to the 
Warm Springs fund one of the largest per 
capita totals in the country, urges all the- 
atre managers to cooperate in the national 
affair next year, as a valuable good will 
measure for the motion picture industry. 

Noting that such cooperation would 
"create friends for the theatres," Mr. Mof- 
fitt said, "I believe that anything we can do 
to strengthen our position with the public 
in the way of aiding causes so human as 
this one . . . helps the industry in general." 

Mr. Mofifitt, as chairman, forwarded to 
Keith Morgan, treasurer of the Birthday 
Ball, in New York, a check for $1,665.91, 
representing the contribution of Owensboro, 
which with its population of 22,000, achieved 
a per capita record for the country. 

Rejects Plan to Turn 
Church into Film House 

Judge John C. Knox in New York federal 
court last week rejected a proposal to trans- 
form the Manhattan Conregational Church, 
on Broadway and 76th street, into a motion 
picture theatre, with an adjoining cafe con- 
taining a bar. The plan was submitted by 
the bondholders committee of the Manhat- 
tan Towers Hotel, in which the church is 
located, in showing cause why the property 
should not be taken over by the court under 
Section 77B of the federal bankruptcy act. 

Moley to Address Forum 

Raymond Moley, former assistant secre- 
tary of state and now editor of Today, will 
address the Monday meeting of the New 
York Motion Picture Club Forum, on the 
New Deal and the motion picture industry. 







' 1 ^ 1 s 



... THE MAN'S MAN ... 


PUBLIC ENEMY No. 1 . . . 





■IT ■„' 'S^ ■ I ' - " 

y •' '"v ^^■•,1■li.♦:■ 



















March 9, 1935 




Evergreen Circuit in Far North- 
west and Paramount Make 
Available Scenes from Fea- 
tures, with Broadcast Chain 

Exhibitors and the radio broadcasters are 
patching- up their differences. Theatres, 
which frequently have condemned certain 
practices of the broadcasters as unfair com- 
petition, are now utilizing radio facilities to 
help sell their wares, in the same manner 
as do national advertisers. 

Leaders in this reconciliation movement 
are Frank L. Newman, Sr., president of 
Evergreen State Amusement Corportion, in 
the Far Northwest, and Paramount Publix. 
Both Evergreen and Paramount have made 
available to exhibitors, with the cooperation 
of World Broadcasting System, electrical 
transcriptions of scenes from Paramount 
feature product as a medium of selling mo- 
tion picture entertainment to the public. 

Campbell Directs Transcribing 

The transcriptions of these pictures, 
known as "The Hollywood Movie Parade," 
are made in the Hollywood studios of WBS 
under the direction of P. W. Campbell, resi- 
dent manager. Mr. Campbell formerly was 
connected with Pathe and Metro-Goldwyn- 
Mayer. The program goes on the air in 
advance of the opening of Paramount pic- 
tures in local playhouses, and stations com- 
mercializing these programs report appre- 
ciable increases in theatre attendance. 

Electrical transcription appears to be com- 
ing rapidly into an important spot in broad- 
casting. For years the radio public resented 
"canned" programs, largely Ijecause in the 
early days stations tried to mislead the 
listening public into believing the programs 
of ordinary phonograph records were made 
up of "live" talent. Today, however, with 
new and improved reproducing equipment 
designed by Western Electric and Radio 
Corporation of America, and with special 
electrical recordings of full length programs, 
it is recognized that by transcription the 
finest talent can be offered at comparatively 
low cost. Transcription has been perfected. 
Finally, there is no attempt to "fool the 
public." The Federal Communications Com- 
mission, under a ruling made by its prede- 
cessor, the Radio Commission, requires that 
all electrical transcription programs be spec- 
ified as such. 

According to C. Roy Hunt, general man- 
ager of station KOIN at Portland, Ore., 
the Paramount transcription plan has proved 
to be that company's greatest merchandising 
asset in that territory. 

"The excellent quality of the World 
Broadcasting transcriptions for Paramount 
has helped us tremendously in selling the 
theatres, as naturally the theatres are most 
critical and wish to sponsor only a very 
high quality entertaining program," Mr. 
Hunt said. 

"We believe much credit is due Para- 
mount for building a transcription of such 
high quality, also for the fine cooperation 

they are giving theatres playing their pic- 
tures. These transcriptions will not only 
help theatres, but, I believe, will be a great 
asset to Paramount for merchandising their 

Last summer in Seattle, during the week 
of August 30, every theatre sponsored 15- 
minute transcription programs, with Para- 
mount, Warner and Twentieth Century rep- 
resented, the two last-named with Warner 
and RCA transcription and Paramount with 
World. At present no film companies beside 
Paramount are regularly sponsoring tran- 
scription programs. 

"Our renewal agreements embody a plan 
which will make it possible for all concerned 
(broadcasters, station representatives and 
program producers) to work together to ac- 
complish the desired objective," said Percy 
L. Deutsch, president of World Broadcast- 

Warner to Launch Use 

Warner Bros.' Hollywood radio station, 
KFWB, is shortly to launch transcription 
independently of other affiliations as a regu- 
lar feature. This station also is looking 
ahead to the time when it can sponsor a 
transcription syndicating plan on a nation- 
wide basis. At present the station's plans 
call for an hour-daily program service of 
transcriptions and continuities to local sta- 
tions. KFWB makes its own transcriptions 
and utilizes a Western Electric double 
33 1/3 R.P.M. turntable and double 78 
R.P.M. turntable. 

Small local radio stations see a boon in 
electrical transcription. Many have ex- 
hausted local talent or lack high caliber 
talent. Furthermore, the transcription cost 
is lower than talent salaries. 

However, there looms one serious draw- 
back : the Federal Communications Com- 
mission is considering prohibition of elec- 
trical transcription used as sustaining pro- 
grams. In other words, all such programs 
would have to be sponsored, and many sta- 
tions have been chary of using transcription 
on sustaining time because of the public's 
earlier antipathy. 

Circuit Sees Plan Work 

In a letter to Mr. Campbell at World's 
Los Angeles office, Frank L. Newman, Sr., 
commended electrical transcription as an 
aid to the theatre man in selling his shows. 

"We are very much interested in the 
electrical transcriptions we are using in this 
territory," Mr. Newman said. "As you un- 
doubtedly know, we operate 26 theatres in 
Washington and Oregon in 12 towns, in- 
cluding Portland, Seattle and Spokane. We 
believe the right kind of transcriptions will 
not only sell our show for us in Seattle, but 
at the same time do us some good out in 
the territory. 

"We have had some excellent electrical 
transcriptions from you. I believe you are 
on the right track in making these transcrip- 
tions and I believe they should be used all 
over the country. 

"... we are only too glad to pay the sta- 
tion time when they are good, as we know 
they mean something to us at the box office." 

Exhibitor Unit 
Is Subject of Tour 

Furtherance of a plan to organize a third 
national exhibitor unit will get under way 
in New York by the end of this month when 
Charles L. O'Reilly, president of the Theatre 
Owners Chamber of Commerce, and Harry 
Brandt, president of the New York Inde- 
pendent Theatre Owners' Association, leave 
on a cross-country tour to sound out ex- 
hibitor associations. 

For many years, Mr. O'Reilly has wanted 
to divide the country into Congressional dis- 
tricts with exhibitor representation from an 
independent national organization in each. 
Headquarters of the new association will be 
in New York. 

In New Orleans last week, the Gulf States 
Theatre Owners' Association, convening im- 
mediatly after the close of the MPTAO 
meeting, appointed a committee to call upon 
Compliance Director Sol A. Rosenblatt with 
complaints to the effect that present code 
operations are unfair to independents. 

Other exhibitor organization activities in- 
cluded unanimous nomination of Harry 
Brandt in New York for the presidency of 
the ITOA. Four other members who had 
been proposed as nominees had withdrawn 
in favor of Mr. Brandt. General elections 
will be held March 27. 

St. Louis Council 
Reviews Success 

In brief review of its work during the 
four years since its establishment, the Better 
Films Council of Greater St. Louis, of which 
Mrs. A. F. Burt is president, points to the 
notably successful efforts put forward to 
improve the tone of pictures and to insure 
greater public appreciation for worthwhile 
films, and says, " We appreciate the need for 
adult pictures and realize that the versatility 
in motion picture tastes cannot be satisfied 
by the sole production of 'family' type pic- 

Mrs. Burt completed the organization of 
the Council, which was chartered as a cor- 
poration last year, in December, 1930, after 
it was found that the exhibitors of St. Louis 
were showing only 40 per cent of the pic- 
tures approved by national reviewing groups, 
that the city ranked last in selective pro- 
grams for children and that theatre adver- 
tising in the city was the most suggestive of 
any city in the country. 

Mrs. Burt, state chairman of motion pic- 
tures of the Missouri Federation of Women's 
Clubs, consolidated, during the four years, 
the work of various units, until today the 
Council reports 20 groups, consisting of 551 
units, cooperating in the work of the Coun- 



March- 9, 1935 


Attorney for Vanderlip Com- 
mittee Demands Board Bet- 
ter Versed in Film Matters 

Asserting that the proposed board of 
directors for reorganized Paramount Pub- 
lix Corporation is barren of creative knowl- 
edge and motion picture experience, Morris 
L. Ernst, attorney and member of the 
Frank A. Vanderhp debenture committee, 
which has been one of the most important 
factors in the reorganization proceedings, 
this week caused further delay. The plan 
has received court approval, but formal 
notice of approval also must be obtained 
from the various reorganization and bond- 
holder groups. 

In a letter to Paramount bondholders Mr. 
Ernst said he had no faith in the proposed 
board's worthiness of "the magnitude of the 
task and the exciting possibilities of the 
enterprise." Mr. Ernst approved of the re- 
organization plan, his sole objection being 
to the makeup of the board. 

"No one can deny that the motion picture 
industry is suffering from the distrust and 
arm's length dealings of all those who trans- 
act business with it at present," his letter 
stated. "In my opinion the first company 
that establishes real confidence in the mar- 
ket of talent will run away with the show. 

Mr. Ernst said "new blood" and repre- 
sentation for production talent on the board 
must be obtained if the company's future 
business is to grow. The only "new blood" 
on the proposed board, he said, is Henry R. 
Luce, editor and publisher of Time and 
Fortune magazines, whom Mr. Ernst him- 
self proposed. The attorney suggested that 
the screen branches elect panels from which 
one or more representatives might be se- 

"They could elect Clark Gable, Robert 
Montgomery, Groucho Marx, Alexander 
Woollcott or anyone they want to represent 
them," his letter stated. Harpo and Groucho 
Marx had been suggested as possible candi- 
dates by someone who, Mr. Ernst intimated, 
had intended to "spoof" his plan. 

"Both of them are shrewd business men 
and I'd prefer them to Samuel InsuU or 
Charles Mitchell," he said. 

While Mr. Ernst recommended to bond- 
holders that they accept the Paramount plan 
in its present form, he urged them to com- 
municate objections as to board personnel 
to Federal Judge Alfred C. Coxe, and will 
voice his own objections at the next sched- 
uled court hearing, April 4th. He is known 
to be particularly opposed to the proposed 
directorship of John D. Hertz, a member of 
Lehman Brothers. 

The Vanderlip committee, of which Mr. 
Ernst is a member, represents $13,000,000 
of the $25,000,000 of old Paramount deben- 
tures outstanding. 

Mr. Ernst said that Paramount's foreign 
interests require a board member familiar 
with international trade, and that none had 
been named. He declared the board also 
needed a member familiar with radio and 
television and an educator for film possibili- 
ties in schools. He suggested someone like 

Dr. James Bryant Conant, president of Har- 
vard University. 

Suggestion had been made that Mr. Van- 
derlip in all probability would be made 
chairman, with Adolph Zukor remaining- as 
president. Creditor groups also were said 
to favor election of George J. Schaefer as 
vice-president and general manager ; Charles 
E. Richardson, former trustee in bankruptcy, 
as treasurer ; Austin Keough as secretary, 
and H. A. Fortington, representative of 
British insurance companies holding Para- 
mount securities, as chairman of the finance 

Mr. Fortington's interests, which are 
principally the Royal group of British in- 
surance companies, made a tentative offer 
to underwrite the new stock issue of ap- 
proximately $6,500,000. The offer is being 
held in abeyance pending further progress. 

Approval of the plan, which includes re- 
organization of Paramount Broadway Cor- 
poration, was adopted by the protective com- 
mittees of the two corporations, according 
to advices to shareholders and bondholders. 

Recommendations of the company's trus- 
tees for provisional allowance of 17 claims 
for the purpose of voting on the reorgani- 
zation plan, made known this week, include : 
Electrical Research Products, Inc., $1,280,- 
250; Sidney R. Kent, $70,406; Samuel and 
Nathan Goldstein, $127,000; Prudence Co., 
Inc., relating to Jacksonville, Fla., property, 
$784,452; Prudence Co., Inc., relating to 
property at St. Petersburg, Fla., $602,083 ; 
Prudence Co., Inc., relating to property at 
Astoria, Long Island, $886,222 ; Joseph H. 
Cooper, $64,726; Circle Theatre Co., In- 
dianapolis, $370,170; Cravath, de Gersdorff, 
Swaine and Wood, $i26,660 ; Chase Na- 
tional Bank, $29,954 ; Lawrence Berenson, 
$15,000; D. W. Chamberlain, $59,299. 

While Adolph Zukor was in Hollywood 
conferring with B. P. Schulberg, Special 
Master John E. Joyce in New York took 
under advisement a hearing to permit Para- 
mount Properties, Inc., holding company 
for the west coast studio and Paramount 
Theatre Bldg., Los Angeles, to file a plan 
of reorganization in federal court for South- 
ern California and authorization for the 
Paramount trustees to participate. 

Judge Coxe approved a settlement of a 
$443,390 claim against Paramount by the 
1432 Broadway Corporation. 

Paramount Plans 
Astoria Revival 

Paramount is considering a revival of 
short subject production at its old studios 
in Astoria, Long Island, it was learned this 
week. The studio, formerly operated by 
Paramount, is now operated by Electrical 
Research Products, Inc. 

Although no decision was announced as to 
when the company will begin production, 
discussions are underway between Austin 
Keough, Paramount legal head, and studio 
authorities,, as to leasing arrangements. 

It is understood that if present negotia- 
tions and plans are consummated Paramount 
will concentrate on short musical pictures. 


when a rival comedian, Harpo 
Marx, was suggested as, a director of 
the reorganized Paramount Publix, 
Eddie Cantor's press agent this week 
leaped to the fore with London clip- 
pings shovAng that Cantor had been 
recommended to the board of the 
Bank of England. 

Sir Herbert Morgan, taking Lloyd 
George's hint that the bank's board 
ivas not representative of Great 
Britain's commercial interests, pro- 
posed Eddie Cantor to reinforce the 
board from the amusement industries. 

Russia Is Unable 
To Forget Ideals 
In Making Awards 

At the Soviet World Film Festival, just 
completed in Moscow, and the first of its 
kind undertaken by Russia, all the films cho- 
sen for awards had at least a thematic ten- 
dency in the direction of the difficulties 
encountered in capitalist countries, or told 
outright of Revolution and the mass strug- 

First award went to product of Russia's 
own state-controlled studios, the winners 
being "Cliapayev," now playing in New 
York; "Peasants" and "Youth of Maxim." 
Second award went to a French film, "Last 
Millionaire," the title of which alone some- 
how implies a distribution of wealth. Third 
prize went to America's own Walt Disney, 
for his Mickey Mouse subject, "The Or- 
phans' Benefit," distributed by United Ar- 

Awarded honorable mention were "Our 
Daily Bread," produced by King Vidor and 
released by United Artists, Warner's "Gen- 
tlemen Are Born," and Metro-Goldwyn- 
Mayer's "Viva Villa," which received its 
certificate although it actually was not 
eligible for the competition. 

"Viva Villa" recounts glamorously the 
daring and occasionally touching exploits of 
that rebel of all rebels against organized 
government, Pancho Villa, the Mexican 
guerrilla warfai'e chieftain, who, hiding in 
the mountains with his bandit army, defied 
alike the Mexican government troops and 
the Marines of the United States for some 
little time. 

"Gentlemen Are Born" tells with tragic 
accent the discouraging experiences of sev- 
eral young men, newly graduated from col- 
lege, and suddenly brought face to face, with 
shocking force, with the American depres- 
sion and its consequent scarcity of jobs for 
earnest and ambitious young men. Sweet- 
hearts come to them, and their difficulties 
multiply, until tragedy in the form of hos- 
pital death and police bullets makes the sur- 
vivors bitter and hostile. 

"Our Daily Bread" concerns itself also 
with the depression and the tragic and diffi- 
cult complications it throws into the lives 
of those involved in the story. 

March 9 , 1935 




Columbia Doubles 
Six Months Net 
Made Last Year 

Columbia Pictures Corporation announced 
Tuesday that its net profits for the six 
months ended Dec. 29, 1934, amounted to 
$919,185, which, after all charges and pro- 
visions for federal income tax, is equal to 
approximately $5.15 per share on 173,593 
shares of common stock outstanding after 
deducting preferred dividend. This com- 
pares with net profits of $404,563, or $2.25 
for the corresponding period of 1933, with 
169,359 shares outstanding. 

The company has declared a quarterly 
dividend of 25 cents per share on the com- 
mon stock and voting trust certificates for 
common stock, payable April 1, 1935, to 
stockholders of record March 13, 1935. 

The consolidated balance sheet as of Dec. 
29. 1934, shows current assets of $7,137,715 
and total current liabilities of $1,418,973, or 
a ratio of more than five to one. 

U. S. Acts to 
Bar ''''Ecstasy'' 

Martin Conboy, United States district at- 
torney in New York, moved this week to 
exclude from the United States the Czecho- 
slovakian feature, "Ecstasy," on the ground 
it is obscene and immoral. 

The government's libel was filed against 
"two tin boxes containing the motion pic- 
ture film." The film in question was im- 
ported by Eureka Productions, Inc., and was 
seized by the New York collector of cus- 
toms and impounded. It was then sent to 
Washington and privately shown to officials 
of the Treasury Department, who voted 
against allowing the picture to be shown. 

Eureka Productions is a property of Sam- 
uel Cummins, New York. 

Film Daily said Monday : "New Orleans — 
Samuel Cummins will show a French nudist 
film at the Crescent this week together with 
a stage show billed as 'Lady Eve and Her 
Nudist Girls.' With 'Sterilization' recently 
on Canal street, this may start a wave of 
police patrol similar to that which followed 
'Elysia.' Cummins is reported to be operat- 
ing the house." 

Exhibitor Found Guilty of 
Labor Clause Violation 

Violation of Section 7-A of the National 
Recovery Act was charged to Edwin S. 
Young, Central theatre, Kansas City, in a 
decision of the local regional labor board 
this week. The Independent Motion Picture 
Operators' Union filed the complaint after 
a member was discharged and Young 
switched to Local 170. 

Skourases Sign This Week 

Spyros and Charles Skouras were sched- 
uled to sign their 10-year joint operating 
contract with the new National Theatres 
Corporation and Chase National Bank of- 
cials in New York this week. 

Attending Film Shows Is Third 
to Reading and Radio, 
Recreation Society Says 

The average American citizen spends $7.70 
annually for his motion picture and legiti- 
mate theatre entertainment, the National 
Recreation Association, Inc., declared this 
week. The Association is a non-profit organ- 
ization the purpose of which is to promote 
national interest in ways and means of 
spending leisure time to best advantage. 

The $7.70 is spent by the citizen in an 
"average" year, the Association's report said. 
It did not define "average" year, but it was 
assumed that the Association considered last 
year "average," as the survey was made in 
1934. Expenditures by Mr. John Citizen on 
lu.xuries and amusements during the year 

were compared as follows : 

Theatre attendance $7.70 

Cigars 6.20 

Pipe and chewing tobacco... 5.15 

Cigarettes 5.10 

Soft drinks 4.50 

Confectionery 4.00 

Musical instruments 2.20 

Chewing gum 41 

According to the Association survey, 22 
cents of the American dollar is spent for 
luxuries, 24.5 cents for necessities, 1.5 cents 
for education and 8.5 cents for crime. 

The report pointed out that it costs |500 
annually to maintain a boy or girl in a re- 
formatory, but only five cents each time a 
juvenile visits a supervised recreation park. 

The National Recreation Association, Inc., 
last year sent questionnaires to representa- 
tive individuals in all walks of life in an 
attempt to determine what the nation's citi- 
zens do with their spare time. The results 
show that, of the persons questioned, 10 
things done and enjoyed most by all persons 
during their leisure hours are, in the order 
of preference : 

Newspaper and magazine reading. 
Listening to the radio. 
Attending motion picture shows. 
Visiting or entertaining. 
Reading fiction. 
Automobile pleasure riding. 
Writing letters. 
Reading non-fiction. 

In 27th place on the list in the question- 
naire appeared the occupation of just plain 
Loafing. Poetry writing occupied the 72nd 

Home activities during the depression 
years, the report said, increased approxi- 
mately 64 per cent. The chief gains regis- 
tered under this department were in letter 
writing, picnicking, serious study and read- 
ing, all these things, in addition to the radio, 
combining to afifect motion picture box office 

The survey also contained an "Un-met 
Desires" department, under which were list- 

ed some of the things individuals would like 
to do during their spare moment but which, 
for one reason or another, they find impos- 
sible. Among these were such items as swim- 
ming, boating, tennis, golf, and camping. 

An indication gathered from an analysis 
of the report was that most persons would 
rather loaf than, for example, play soccer 
or football. 

Married men over 35, the survey revealed, 
"yearn" for picnics, horseshoe pitching, and 
caring for pets. Bachelors would rather 
enjoy the pleasures of motor camping, con- 
certs, evening schools, gymnasium and card 

Married women find their greatest pleas- 
ure, according to the report, in visiting, en- 
tertaining and picnics. Unmarried women, 
it seems, prefer hiking, museums and read- 
ing non-fiction. 

Both se.xes, the report said, enjoy theatre- 
going and card-playing. A few single per- 
sons mentioned conversation as a principal 
diversion, but married couples ignored it. 

Officials of the National Recreation Asso- 
ciation, Inc., are Joseph Lee, president; 
Howard Braucher, secretary, and Gustavus 
T. Kirby, treasurer. Dr. John H. Finley, 
educator and editor, is first vice-president; 
John G. Winant, governor of New Hamp- 
shire, second vice-president, and Robert 
Garrett, banker, third vice-president. 

Improved Public Favor 
Toward Films Is Shown 

Evidence of nationwide appreciation of 
the improvement in the moral tone of screen 
entertainment and advertising matter was 
placed before publicity executives at the 
Motion Picture Producers and Distributors 
of America in Hollywood Tuesday. J. J. 
McCarthy and Lupton Wilkinson said a sur- 
vey showed public sentiment had been in- 
creasingly favorable. 

"If clean pictures and clean ads have paid 
dividends at the box office, it follows that 
wholesome material will also pay dividends 
for the columns, fan magazines and other 
media that derive circulation from copy 
about Hollywood," said Mr. Wilkinson. 

Scollard with Swope 

Clinton J. "Pat'' Scollard, long associated 
with the enterprises of Joseph P. Kennedy, 
now chairman of the Securities Exchange 
Commission, in the FBO and Pathe organ- 
izations, and also with Mr. Kennedy's Som- 
erset Importers, Ltd., has been made assist- 
ant to Herbert Bayard Swope, officing in the 
RCA Building in Radio City, New York. 
Mr. Swope is a director of Keith-Albee- 
Orpheum, RKO Radio Pictures and Pathe 

Comerford improves 

M. E. Comerford of the Comerford The- 
atres of Pennsylvania, who has been ill for 
more than 10 days in a Washington hos- 
pital, this week was reported to have passed 
a crisis and is resting comfortably. 


Sex appeal Used 
By Culhertson to 
Promote Bridge 

Showmen, aware of the fact that the com- 
petition of bridge games is costing the box 
office much money, will find an illuminating 
story of how a pastime was turned into a 
comprehensive business by publicity and ad- 
vertising, in an address given by Ely Cul- 
bertson, contract bridge specialist, before 
the Sales Executive Club of New York at 
a luncheon Monday at the Hotel Roosevelt. 

Appeal to the instincts of sex and fear 
was the first line of promotion in building 
an organization now having a payroll of be- 
tween $10,000 and $15,000 a month, with 
4,000 teachers. The game brought men and 
women together. Studiously Mr. Culbertson 
concocted the phrases "forcing bid" and "ap- 
proach bid" because he saw a sex connota- 
tion in them. 

Appealed to Women 

"First we had to build a system," he ex- 
plained. "That took six years. Then we 
had to sell that system. We founded a 
magazine and interested the leading persons 
in the game. You have to do that before you 
can sell to the masses. 

"We appealed to women, to their natural 
inferiority complex. Bridge was an oppor- 
tunity for them to gain intellectual parity 
with their husbands. Then, we appealed to 
the husbands. We worked on their fear in- 
stinct. We made it almost tantamount to 
shame not to play contract. Finally, we ap- 
pealed to the gambling instinct of both. 
Americans are natural gamblers, but by 
praising the skill in the game we applied the 
brakes to gambling, thereby gaining social 
approval and at the same time the oppor- 
tunity for gambling." 

Sells Himself as Smart-Aleck 

Mr. Culbertson said he was not the smart- 
aleck, pugnacious type he had sold himself 
to be in the mass public mind, nor was Mrs. 
Culbertson the shy, diffident, dignified, cool 
and calculating woman of the organization's 
publicity. These characters, he said, were 
promotional fiction to attract national atten- 
tion to them, personally. The more the in- 
sults and fights the more he liked it — "I 
didn't care which way they used my name, 
just so they used it." He said he had learned 
the mass mind when, at 15, he participated 
in radical demonstrations in Russia, and his 
wife had urged him to apply that knowl- 
edge to contract bridge. 

Each of the 4,000 teachers in the organi- 
zation pays $10 a year for the privilege of 
selling the Culbertson system. He formed 
a publishing company and, instead of de- 
manding a royalty, paid the publisher two 
cents for each copy of his books sold. 

Mr. Culbertson is selling a bridge column 
daily to 170 newspapers, and Mrs. Culbert- 
son is writing for 60 newspapers. He gets 
publicity by writing for magazines and is 
paid for the articles. He wins publicity by 
writing scenarios and appearing in short 
features. One business company, through 
his tieups, circulated three million pamph- 
lets concerning him and with no cost to him. 



A one-reel melodrama of the Stone 
Age, portraying man's eternal con- 
flict with the forces of Nature, writ- 
ten, acted and produced by children 
in the tenth grade of Lincoln School, 
Columbia University, was shown for 
the first time this week in the school's 

The cast of "The Brothers of Alta- 
mira" is composed of eight 14- and 
\5 -year-old boys and girls. The action 
involves members of the Cro-Magnon 
race who lived in the region now 
known as the Pyrenees, between 
France and Spain, some 50,000 years 
ago. It first was intended to shoot 
most of the action among the rocky 
"mountains" of Central Park, but the 
weather became so cold that the 
juvenile producers were forced to film 
most of the picture on the stage of 
the auditorium. There was one ex- 
ception, a scene in which the villain 
is shown being drowned in a stream 
by the hero. In this sequence a cor- 
ner of the school's swimming pool 
was utilized. The entire production 
cost $50. 

Baker Names New 
British Releases 

Reginald P. Baker, financial head of Asso- 
ciated Talking Pictures of London, and joint 
managing director of the A.T.P. Studios and 
Associated British Film Distributors, sees 
another British "invasion" of the American 
market coming this spring. Mr. Baker is in 
this country talking over production plans 
with First Division. 

A purpose of ATP is to increase the 
standard and quality of British pictures, Mr. 
Baker said in New York prior to his de- 
parture for Hollywood with M. L. Fiske, HI, 
vice-president of First Division Productions. 

Among ATP pictures to be released in this 
country next season by First Division will 
be two starring Clive Brook, three starring 
the Lancashire comedienne, Gracie Fields. 

The second release of "The March of 
Time" appeared this week. The story of the 
New York Daily News coverage of the 
Hauptmann verdict comes first. Next, Pro- 
fessor Edgerton of Massachusetts Institute 
of Technology demonstrates the speedy 
stroboscopic camera. The movement for a 
Senatorial investigation of shipping is de- 
scribed with shots of the Mohawk and 
Talisman disasters. Number four is the 
story of Huddie Ledbetter, who sang his 
way out of prison. Finally, by picture and 
diagram is shown how the powers are en- 
circling Hitler with a ring of diplomacy 
and steel. 

Famous Players Canadian Corporation 
booked the series for all of its 75 theatres 
in Canada. Regal Films, Ltd., is handling 
distribution in the Dominion. Fred McCon- 
nell, Charles Stillman, Daniel Longwell and 
Amos Hiatt, March of Time executives, are 
conferring in Detroit this week with First 
Division president Harry Thomas and Ralph 
Rolan, vice-president of March of Time, Inc. 

March 9, 1935 

Pupils ' Symposium 
Features Meeting 
Of National Board 

"Intelligent People and the Movies" will 
be the keynote of the eleventh annual con- 
ference of the National Board of Review of 
Motion Pictures, which opens Thursday 
morning at the Hotel Pennsylvania in New 
York. The sponsors hope that "out of these 
sessions may emerge a definite concept of 
what thoughtful people, bringing all their 
intelligence to bear, may look for in the 
further growth of the movies." 

Specific session topics, running through 
Thursday, Friday and Saturday morning, will 
be: "What Are the Movies Up Against?" 
pertaining to motion picture censorship, legal 
and otherwise ; "Community Motion Picture 
Activity" ; "How Important Can the Movies 
Be? — (a) In Increasing General Intelli- 
gence, (b) In Advancing General Culture"; 
"Photography and the Motion Picture Art"; 
"Youth and the Movies." 

For the first time, said Wilton Barrett, 
executive secretary of the Board, there will 
be held a symposium of young folk — of ele- 
mentary school standing — concerning the 
motion picture. This will be sponsored by the 
Young Reviewers' Club of the National 
Board, assisted by youthful groups cooper- 
ating in the work. 

A demonstration of reviewing committee 
at work examining an unreleased film at the 
Warner home office was to feature the 
Thursday morning session of the three-day 
meeting. The afternoon was to be devoted 
to addresses subdivided under the general 
topic, "What the Movies Are Up Against," 
with Dr. Frederick M. Thrasher of New 
York University as presiding officer. 

Friday the meeting was to hold a panel 
discussion on community motion picture ac- 
tivity, the afternoon session topic being 
"How Important Can the Movies Be?" A 
private showing of GB's "Man of Aran" 
and Audio Productions' "Musical Moods" 
subjects was scheduled for the evening. 
"Youth and the Movies," with Robert Adam 
of the 11th grade of the Birch Wathen 
School as presiding officer, was to be the 
topic of the young folk's symposium on 
Saturday morning, followed by the conclud- 
ing event, the twentieth annual luncheon of 
the National Board. 

Morgan, Cummings, Bancroft 
Guests at AMPA Luncheon 

William R. Ferguson, Metro exploiteer, 
was to resume the open luncheon-meetings 
of the Associated Motion Picture Adver- 
tisers at the New York Motion Picture Club 
on Thursday, presiding from a dais at which 
guest stars included Frank Morgan, Con- 
stance Cummings, George Bancroft, James 
Barton, Sylvia Froos, Walter Connelly, Bob 
Hope, Jane Wyatt, Patsy Flick, Noah Beery, 
Joe Weber, Stepin Fetchit, jack Powell and 
Buck and Bubbles. 

Others to be on hand were Buster Collier, 
Nicholas Hannen, Louis Waldman, Charlie 
Cantor, Teddy Bergman, Mickey Harmon, 
Adele Ronson, Aida KuznetzofT and Ruth 


BALTIMORE . . march l .."'Roberta' opening today necessitated extra police handle 
crowds establishing new high box-office record in history theatre. Critics unani- 
mous in praise. Have never seen such an enthusiastic response before. Thanks 
for this gold mine.''— Izzy Rappaport, Hippodrome Theatre 

MARCH 2 . . "Hell broke loose here tonight. Police and house staff unable to cpn^ 
trol crowds. Shattered previous opening day record. Two thousand people turned 
away. Audience comment and reaction sensational. I look for three weeks maybe 
four here."— Izzy Rappaport, Hippodrome Theatre 

MARCH 3 . . "'Roberta' first three days twenty per cent ahead previous house 
record. Hardly thought this possible, even with extra police to handle crowds. 
Packed to capacity 10:45 this morning fifteen minutes before first show started. 
Not even standing room available at any time since opening Friday. Audience 
reaction most enthusiastic I have ever seen." 

—izzy Rappaport, Hippodrome Theatre 

RICHMOND, VA.. • "Marvelous work of Dunne, Astaire and Rogers in 'Roberta' the 
talk of the town. Reviewers ran out of adjectives. Looks like new all time record 
with holdover assured."— Walter Coulter, Byrd Theatre 

PITTSBURGH, PA.. • MARCH 2 . . "'Roberta' opened Stanley, Pittsburgh, Friday, one 
thousand dollars better than 'Gay Divorcee' opening at higher admission prices 
and best opening straight picture or stage policy this theatre past year with 
single exception." . . MARCH 4 . . "'Roberta' got sensational gross Stanley 
Saturday."— Wire report from RKO District Manager 

Pittsburgh Post-Gazette . . "if Mr. Kern's 'Roberta' was a good stage buy at 
three dollars, then the screen version is a bargain at twice that much." 

Pittsburgh Press . . "'Roberta' is the one picture which must not be missed. It's 
THE TOP! Of the popular operettas, it is unmatched." 

Pittsburgh Sun-Telegraph . . "Take off your hat and make a sweeping bow to the 
RKO Studio, which has yet to fail in the making of musical talkies. The bow is 


DES MOINES, I A. .. 'Roberta' opened Orpheuin biggest Friday history theatre. 
Papers raving over show and audience reaction marvelous!" 

—Wire report from RKO Branch IVIanager 

KANSAS CITY. . MARCH 2 .. '''Roberta' IVIainstreet Theatre opening Friday played 
to twenty-five hundred more people than 'Gay Divorcee'. Theatre changed 
schedule opening at nine this morning instead of usual eleven and had a line 
waiting at that time and will have eight shows today." . . (Wire of MARCH 4). . . 
"'Roberta' Saturday and Sunday played to 11,423 paid admissions.. Number of 
people show to Saturday breaks all time house records." 

—Wire report from RKO Branch Manager 

OMAHA . ."'Roberta' Brandeis Theatre, Omaha, Friday opening largest in history of 
that theatre for that day of week. Saturday largest gross in history of theatre. 
Enthusiasm tremendous. Everyone talking 'Roberta'. Crowds have been lined 
at theatre fighting to get in . . Greater gross on 'Roberta' than any important 
picture ours at Norfolk and Columbus."— Wire report from RKO Branch Manager 

TOLEDO . ."Thank you for the best picture of the year. 'Roberta' doing capacity busi- 
ness appeals to everyone. Will hold for indefinite run." 

—John F. Kumler, Pantheon Theatre 

DALLAS . . "'Roberta' Majestic Theatre, Dallas, Saturday and Sunday did best business 
of any picture for one and one-half years, beating highest gross of 'Little 
Women', and 'Gay Divorcee'."— Wire report from RKO Branch Manager 

MEMPHIS ■ .Memphis Commercial Appeal . . "The team of Astaire and Rogers has 
doneJt again and better, this time as a threesome with the addition of Irene 
Dunne, in 'Roberta' Mr. Astaire and the Misses Dunne and Rogers have easily 
the best tune talkie yet to emerge from the RKO Studios." 

NEW ORLEANS . .New Orleans Tribune . . "'Roberta' is another smashing movie. . . 

The Wednesday night premiere crowd was one of the biggest that ever tried to 
get into the Orpheum Theatre. The waiting ticket buyers were lined up almost 
around the block, and police reserves had to be called to handle the surging 

FORT WORTH y TEX. . ."'Roberta' Saturday and Sunday gross beat highest grosses 
of 'Little Women' and 'Gay Divorcee."'-Wire report from RKO Branch Manager 


— — 

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tirade musical 
stage success . . . 
screened in a 
sunburst of song! 



From th« pUy "Sob* 
Book and lyrici by 
Harbaoh. Dir«oto4 


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March 9, 1935 


Advance outlines of productions neerring 
completion as seen by Gus McCarthy of 
Motion Picture Herald's Hollywood Bureau 


Pioneer Production for Radio release 

Several things that are of novel and potent 
showmanship interest are to be noted in this 
production. It is the first feature length picture 
done in Technicolor's new three-color process. 
All prior color dramas were photographed in 
the various two-color processes, including Kino- 
macolor, Prizma and Technicolor. The process 
being used for "Becky Sharpe" is the same as 
that used in "La Cucaracha," a highly popular 
short subject. The color design is being handled 
by Robert Edmond Jones, whose expert work 
on the short subject aided materially in its 
winning the Academy award as the best short 
comedy. "Becky Sharpe" is also the first fea- 
ture attempt of the newly organized Pioneer 
Productions and as is usually the case nothing 
will be missed in the way of any values to 
make a favorable initial impression. 

The story is based upon William Makepeace 
Thackeray's "Vanity Fair," the screen play is 
by Francis Faragoh. Direction is by Rouben 
Mamoulian, who made the current "We Live 
Again." Worthy of note, as far as potential 
entertainment and exploitation values are con- 
cerned, is the fact that Kenneth Macgowan, 
producer of "Little Women" and "Anne of 
Green Gables," is supervising the picture. 

With the all-Technicolor feature serving as a 
unique salesmanship angle, the personnel is also 
of unusual value. As two women are the chief 
sources of interest in the motivating story, 
those roles are filled by Miriam Hopkins, re- 
cently in "Richest Girl in the World," and 
Frances Dee. Among the more favorably 
known players who will be seen are Cedric 
Hardwicke, noted English actor, who is fea- 
tured in the forthcoming "Les Miserables," 
Billie Burke, Alan Mowbray, Nigel Bruce, the 
veteran William Faversham, Charles Richman, 
William Stack, Colin Tapley and G. P. Hunt- 
ley, Jr. 

Locales are England and Belgium and the 
time is 1815. One of the spectacular phases is 
an in-the-distance portrayal of the Battle of 

The preset! taf ions of this depart- 
ment are in no sense reviews of the 
pictures or evaluations of the produc- 
tions. They are inventories of material. 

The endeavor is to inform the ex- 
hibitor of the nature of the story and 
the personnel and to set forth the ele- 
ments of appeal which the producer 
is seeking to put into the product. 

"The Cutting Room" is published 
for the special service of exhibitors 
who require some detailed information 
concerning the character of the pic- 
ture and its selling factors in advance 
of previews, reviews and press books. 

This department's survey of pic- 
tures in no way anticipates or sup- 
plants the functions of the Showmen's 
Reviews which are prepared when the 
finished product is made available. 

of the cast. There is definite name value to 
both the principal and supporting players. Nor- 
man Foster, as the schoolmaster, Charlotte 
Henry as the girl with whom he falls in love ; 
Sarah Padden and William V. Mong as Mr. 
and Mrs. Means, and Dorothy Libaire as their 
daughter, are the principal characters. Fea- 
tured players include Otis Harlan, Russell 
Simpson and Fred Kohler, Jr. Others listed are 
youthful Tommy Bupp, Wallace Reid, Jr., 
George Hayes and Joe Bernard. 

Similar in entertainment quality to several 
current pictures which portray the drama and 
romance of mid-west American life during the 
later 1800's, it promises to be not only an edu- 
cational but also entertaining feature with 
strong appeal to the all-family type of audi- 




While this feature is adapted from one of 
last century's best known American semi- 
classics, its dramatic story quality is peculiarly 
modern. "The Hoosier Schoolmaster" is and 
paradoxically is not a story of one of that great 
group of men teachers who played such an im- 
portant part in post Civil War readjustment 
and the cultural development of the then "Far 
West." The Edward Eggleston novel is the 
saga of that band of Federal Army veterans 
who, seeking their bonus in the form of new 
land, were defrauded by greedy interests. That 
condition serves as a background for the story 
of Ralph Hardstock, whose romantic and dra- 
matic experience is essentially good theatre, 
promising much in entertainment and showman- 

The screen play is by Charles Logue, recently 
credited with "Home on the Range" and re- 
membered for his work on "Black Beauty." 
Direction is by Lewis D. Collins, maker of the 
current "Sing Sing Nights." 

In line with the importance of the story, 
more than usual care was taken in selection 

One of this production's most prominent as- 
sets is the fact that the original story is by 
Dashiell Hammett, author of "The Thin Man." 
That, in itself, is sufficient to establish its char- 
acter — a mystery tinged romantic drama. The 
screen play is by Doris Malloy, associated with 
such dramatic pictures as "Gambling Lady" 
and "I'm a Thief" and Harry Clork, with whom 
she has collaborated on a few Universal cur- 
rent features and the forthcoming "Princess 
O'Hara." Direction is by Alan Crosland, maker 
of the recent "Case of the Howling Dog," "The 
White Cockatoo," similarly atmosphered pic- 
tures, and "It Happened in New York." 

In content, modernly timed and localed, the 
story follows through a maze of mystery melo- 
drama in which two men are killed, also com- 
plicated romantic drama and liberal doses of 
situation, action and dialogue comedy. To solve 
the killings, the motives for which dovetail, a 
super-detective, who not only makes use of all 
the latest and most scientific crime detection 
aids but also plays funny hunches, is brought 
in. His scientific deductions solve the problem. 

Cast in the role of Mr. Dynamite is Edmund 

Lowe, in a character which is a direct follow- 
up of his current appearance, "The Great Ho- 
tel Murder." His secretary and partner in giv- 
ing criminals and the regular police the jitters 
is Jean Dixon, last seen in "Sadie McKee." 
Other principals are Esther Ralston, Victor 
Varconi, returning after a long European stay, 
Verna Hillie, who was seen in "Romance in the 
Rain" and is appearing in "Princess O'Hara," 
and Minor Watson. In minor roles are Brad- 
ley Page, Robert Gleekler, Jameson Thomas, 
Greta Mayer, Matt McHugh, Joyce Compton 
and Mary Wallace. 

This production should give those exhibitors 
who like to specialize in dramatic mysteries a 
chance to try much that is new. 


20th Century 

No other screen artist compares with George 
Arliss in success of portrayal of historical char- 
acters. "Disraeli," "Alexander Hamilton, "Vol- 
taire," "Rothschild" and "The Iron Duke" are 
sufficient proof. Now he comes in the role of 
Armand du Plessis, Cardinal Richelieu, France's 
great prelate-statesman of 300 years ago. 

This feature is to be produced on a mag- 
nificent scale, with the same degree of 
authenticity in every detail with which 
the same producing company endowed "The 
House of Rothschild." Nunnally Johnson, who 
wrote the "Rothschild" screen play, and Cam- 
eron Rogers spent months in research prior to 
adapting the highlights of countless historical 
tomes and documents into continuity form. The 
screen play is by Maude Howell, who did three 
other Arliss pictures, "King's Vacation," "The 
AVorking Man" and "Voltaire," and was asso- 
ciate director on "Rothschild." The dialogue 
is the work of W. P. Lipscomb, scenarist of 
"Clive of India" and currently associated with 
"Les Miserables." Direction is by Rowland V. 
Lee, who made "Count of Monte Cristo." The 
picture is being photographed by Peverell Mar- 
ley, who shot "Rothschild," "Clive" and "Monte 

Besides story content, through which the full 
range of entertainment values run, and spectac- 
ular production values, there are, in addition to 
Arliss, a host of names whose interest creating 
merit is unquestioned. Among the many are 
HaJliwell Hobbes, Edward Arnold, Violet 
Kemble-Cooper ("Copperfield") , as well as 
Maureen O'Sullivan, Katherine Alexander, 
Caesar Romero, Francis Lister, Douglas Dum- 
brille, Lumsden Hare, Murray Kinnell, Pat 

This production is fully worthy of the kind 
of advance campaign commonly given an event 
on any program of entertainment. 



As the file of many years' production is 
checked, it is distinctly noticeable that the great 
majority of pictures have had sympathy arous- 
ing romantic drama for their main subject mat- 
ter. This production, although the present title 
is rather inappropriate, is of that category. It 
is the story of a man who, to satisfy the de- 
mand of his wife and mother-in-law, committed 
a theft. Jailed, he lives only on the promise 
of his wife to await the day he will be free. 
When his wife marries another, he joins a gang 

March 9 , 1935 




of racketeers upon his release, intent upon re- 
venge. Stealing into his former wife's home, 
he sees her husband shot while threatening her. 
Circumstantial evidence points to the woman, 
but as the criminal investigation runs up against 
a stone wall, the killer confesses, and the path is 
clear to resume the interrupted romance. 

Original story and screen play are by Stuart 
Anthony, recently credited similarly on "Char- 
lie Chan in Paris." Direction is by Burt Lyn- 

As there is both showmanship and entertain- 
ment merit to the production's story content, 
there is also more than usual exploitation value 
in the cast. Donald Cook and Irene Hervey 
play the lead roles, with Doris Lloyd appearing 
as the avaricious and ambitious mother-in-law 
and Edwin Maxwell being seen as the murdered 
second husband. These four have all appeared 
recently in many major studio productions and 
consequently are favorably known to audiences. 
Supporting players are competent performers, 
several are just as well known as the principals. 
Included are William Lestrange Millman, Rus- 
sell Simpson, John Kelly, Edwin Argus, Billy 
West, Wheeler Oakman, Frank LaRue and 
Fern Emmett. 



As can easily be read into the title, this is 
an allegorical portrayal of the axiom "What's 
sauce for the goose is sauce for the gander." 
Essentially, however, and despite the compli- 
cated dramatic content, it is a comedy romance 
that borders on the farcical. 

Original story and screen play are by Charles 
Kenyon, scenarist on "Dr. Monica" and "The 
Firebird." Direction is by Alfred E. Green, 
whose latest pictures are "A Lost Lady," "Gen- 
tlemen Are Born" and "Sweet Music." 

The story details the ef¥orts of a woman to 
steal her former husband away from his pres- 
ent wife and the surprising and unexpected 
romantic and dramatic situations into which 
she leads herself. Not only is there another man 
who intrigues her heart ; but a pair of jewel 
thieves and a smart old lady lend a hand in 
further complicating the situations. 

In the production, which is being handsomely 
mounted and the feminine members of the cast 
luxuriously gowned, the locales are the swanky 
Santa Barbara watering place and the Califor- 
nia mountains adjacent. Kay Francis, playing 
essentially a comedy role, is cast as the woman 
who is the center of all the fun and drama. 
She is teamed with George Brent, with whom 
she appeared in "Living on Velvet," a recent 
release. The other two principals in the the- 
matic plot are Genevieve Tobin and Ralph 
Forbes. The supporting cast includes Claire 
Dodd, John Eldridge as the jewel thieves who 
unwittingly provide much of the accompanying 
comedy; Helen Lowell as the old lady and 
Spencer Charters as chief of the police called 
in to solve the robbery case. Others are Eddie 
Schubert, Charles Coleman, William Austin and 
Gordon Elliott. 

Title, players, story content and production 
values definitely clue the type of applicable 
showmanship. A combination of the title sig- 
nificance, the players' names and only the 
vaguest of explanatory hints as to what the 
picture is all about should prove sufficient to 
create interest. 


(Tentative title) 

This is a farce romantic comedy, accent on 
comedy, and not a jungle picture. It concerns 
a rebellious heiress who runs away from her 
very prim and proper intended on their wed- 

ding eve. Landing in a deserted mountain resort 
with her maid, she runs into a romantic circus 
troubador with a genius for making love ; a 
wildly excited newspaper reporter on the trail 
of a big story ; an Amazonian tiger tamer ; an 
unsympathetic caretaker, and a pair of half- 
witted moonshiners. To fast moving, hilarious 
comedy, she learns what love really is, and the 
man from whom she fled also gets a few les- 
sons in the proper love making technique. 

The production is adapted from a stage play 
by Ben Hecht and Rose Caylor. The screen 
play is by Patterson McNutt (not to be con- 
fused with William Slaven McNutt) and H. 
W. Hanneman. Direction is by Clyde Bruck- 
man, now a writer but previously director for 
such comedians as Buster Keaton, Harold Lloyd 
and Laurel and Hardy. 

The cast, while by no means sensational, pre- 
sents many adequate box office names. Lew 
Ayers, last in "Lottery Lover," but known 
for his performances in many pictures from 
"All Quiet on the Western Front" to "State 
Fair," is the fled-from hero. Claire Trevor is 
the girl in the case and her maid is Zasu Pitts. 
Jack Haley, seen in "Sitting Pfetty" and 
"Here Comes the Groom," is the reporter. Wal- 
ter King, outstanding in "One More Spring," 
is the troubador who sings the production's one 
song number, "Tonight There's a Spell on the 
Moon." Tala Birell, now in "Captain Hates 
the Sea" and "Once a Gentleman," appears as 
the tiger tamer. Seigfried Rumann, soon to be 
seen in "The Wedding Night," is the care- 
taker, and Mitchell and Durant are the father 
and son moronic. Minnie is the tiger. 

Essentially an exciting and fun-packed com- 
edy, it calls for all-laugh exploitation. 

$10 RAISE 


In this picture, Edward Everett Horton, fea- 
tured in many pictures — "Gay Divorcee," "Merry 
Widow," "Night Is Young," "Biography of a 
Bachelor Girl," "All the King's Horses," and 
so on, and widely regarded by many patrons as 
the best character in them — gets his opportunity 
at being a lead star. The story, by Peter B. 
Kyne, with screen play by Henry Johnson and 
Louis Breslow, recently associated respectively 
with "Handy Andy" and "She Learned About 
Sailors," and directed by George Marshall, 
whose most recent credit is "Life Begins at 40," 
is particularly adapted to Horton's personality 
and talents. In character he is a threadbare 
office bookkeeper. With an inferiority complex 
and devoted to pinch penny economies, he lives 
for a $10 raise. He wants it so that he may 
marry the office stenographer. Suddenly turn- 
ing into a man of iron, he first amazes his 
roaring boss, then turns him into a human be- 
ing, makes himself a super hero and gets his 

The significance of the title and story con- 
tent being more than originally familiar to mil- 
lions of men and women who exist in the same 
mental state as its hero and the girl he loved, 
the production looks to be one that should 
easily stimulate unusual and appealing person- 
ally directed exploitation. 

With Horton's the outstanding name, the sup- 
porting cast is made up, with but few excep- 
tions, of well known players. Karen Morley, 
now in "Black Fury" with Paul Muni, is his 
sweetheart. Berton Churchill, in practically all 
the recent Will Rogers pictures as well as 
many others, is the fire-eating boss. Others are 
.A.lan Dinehart; Glen Boles, featured in several 
recent Warner attractions ; Frank Melton ; Ray 
Walker, seen in "Baby Take a Bow" ; and a 
pair of juvenile newcomers, Rosina Lawrence 
and William Benedict. 



Charlie Ruggles and Mary Boland, so well 
received in several recent pictures, the last of 
which is "Ruggles of Red Gap," are again 
paired in this. The production is a combination 
of original yarns by Sophie Kerr and F. Hugh 
Herbert, the screen play by Herbert Fields. 
.\lfred Santell is the director. 

In theme, it is an hilarious domestic comedy. 
The one blight in the life of Ruggles and Miss 
Boland is the way in which their married 
daughter, Leila Hyams, and Dean Jagger quar- 
rel constantly. In order to shame their chil- 
dren into some semblance of domestic bliss, the 
oldsters stage a fake quarrel of their own. The 
brawl, however, runs into complications that 
very emphatically brand Ruggles as a philander- 
ing husband. Then it's the children's turn to act 
as peacemakers. Jagger frames a kidnaping of 
his father and mother-in-law, and when Charlie 
loosens his bonds, it's his own big chance to 
impress his wife. Pantomiming a terrific battle 
with gangsters and using interested onlookers 
as atmospheric menaces, he convinces Mary that 
he is a dutiful spouse and courageous hero. 

Other than the names mentioned, practically 
the entire supporting cast is composed of un- 
known players, save Ruthelma Stevens, seen in 
several recent pictures. Listed are: Stanley 
.\ndrews, Sarah Edwards, Betty Alden, Mit- 
chell Ingraham, Aileen Carlyle, Cecil Cunning- 
ham, Edwin Stanley, Jack Raymond, Edmund 
Burns and Malcolm McGregor. 

There being undoubted commercial value in 
tlie title, story content also appears to be amply 
endowed with salable material. Nevertheless, 
for practical purposes, the drawing power of 
the Ruggles-Boland team should be the most 
effective asset. 

Laughton to Make Film 
Directed by Rene Claire 

Charles Laugton, English actor, who has 
just completed "Ruggles of Red Gap" for 
Paramount, sailed from New York last 
week-end for a hurried visit to London, 
where he will confer with Alexander Korda 
of London Films, who controls six months 
of his services annually. Next June, said 
Mr. Laughton, for London Films, he will 
make a picture under the direction of Rene 
Claire, French director, tentatively titled 
"Sir Tristram Goes West," in which he will 
play the part of a ghost. 

Urges More Selection 
In Films to New Zealand 

The position of American producers in the 
New Zealand market would be greatly im- 
proved if greater discrimination were shown 
in the type of films sent there, in the opinion 
of W. W. Orebaugh, at Wellington, Ameri- 
can vice-consul. It is the opinion in New 
Zealand, reports the representative, that too 
many American films are being shown, 
which tends to lower the public appreciation 
of American films, since many are unsuitable 
for the market. He suggests that each 
American company offer only about 30 pic- 
tures in New Zealand each season. 

Two More tor Dix 

Richard Dix, with one more film to make 
for Radio, has signed for two others, the 
first a Dudley Nichols original story. 



March 9 . 19 3 5 


The total of theatre receipts for the calendar week ended March 2, 1935, from 
110 theatres in 18 nnajor cities of the country, reached $1,141,317, an increase of 
$81,337 over the total for the preceding calendar week, ended February 23, when 
108 theatres in 18 nnajor cities aggregated $1,059,980. 

(Copyright, 1935: Reproduction of material from this department without credit to Motion Picture Herald expressly forbidden) 






30c -50c 



Loew's State... 



Metropolitan . . . 










Great Lakes ... 



Hippodrome .... 








25c- 50c 













United Artists.. 

. 1,700 


Current Week 

Picture Gross 

"Night Life of the Gods" (Univ.) 13,000 

"All the Kings Horses" (Para.).- 5,000 
and "The White Cockatoo" (W. B.) 

"Tlie Good Fairy'' (Univ.) 21,000 

"After Oflfice Hours" (MGM) and 14,500 

"The Best Man Wins" (Col.) 

"Sweet Music" (W. B.) 35,000 

"All the Kings Horses" (Para.).. 8,500 
and "The White Cockatoo" (W.B.) 


Allen 3,300 

Circle 1,875 

Hippodrome .... .3,800 
RKO Palace .... 3,100 

State 3,400 

Stillman 1,900 


Aladdin .......... 1,500 25c- 50c 

Dfenham 1,500 25c-S0c 

Denver 2,500 25c-50c 

Orpheum 2,600 25c-S0c 

Paramount 2,000 25c-40c 

Holly wood 

Chinese .......... 2,500 30c-6Sc 

Pantages 3,000 25c-40c 

W. B. Hpllywood, 3,Q0O 25c-65c 

Previous Week 

Picture Gross 

"Strange Wives" (Univ.) 11,000 

"Woman in Red" (F.N.) and.... 5,000 
"Charlie Chan in Paris" (Fox) 

"Murder on a Honeymoon" 25,000 


"Biography of a Bachelor Girl".. 12,000 

(MGM) and "Mills of the Gods" (Col.) 

"Devil Dogs of the Air" (W.B.).. 28,000 

"Woman in Red" (F. N.) and.... 6,500 
"Charlie Chan in Paris" (Fox) 

^'Sweet Music" (W. B.) 18,100 "One More Spring" 

■'Helldorado" (Fox) and 5,900 

"Mystery Woman" (Fox) 

"Charlie Chan in Paris'' (Fox) and 
"Red Hot Tires" (W. B.) 

(Fox) 14,800 


aive of India" (U. A.) 

■'After Office Hours 
(8 days) 

'The Whole Town's Talking".. 

"The County Chairman'' (Fox). 

(2nd week) 
"After OfTice Hours" (MGM).. 

'Baboona" (Fox) 

(2nd week) 
"The Band Plays On" (MGM). 

"Transient Lady" (Univ.). 
"Sweet Music" (W. B.).. 
"Helldorado" (Fox) 





"The Night Is Young" (MGM) and 6,900 
"Society Doctor" (MGM) (6 days) 

"Devil Dogs of the Air" (W.B.).. 8,000 

"The Good Fairy" (Univ.) 7,300 

"The County Chairman" (Fox).... 11,000 
(Isf week) 

"Wings in the Dark" (Para.).... 47,000 

"Baboona" (Fox) 

(1st week) 
"Charlie Chan in Paris" 


(Fox).. 17,000 

"The Mystery of Edwin Drood".. 15,000 

"Devil Dogs of the Air" (W. B.) 12,000 

(8 days-2nd week) 
"Strange Wives" (Univ.) 13,000 

'David Copperfield'' (MGM). 
(3rd week) 


"The Good Fairy" (Univ.) 



"That's Gratitude" (Col.) 



"The Little Colonel" (Fox) 



"Woman in Red" (F. N.) 



"After Office Hours" (MGM).... 



"Wings in the Dark" (Para.) . . . 

. 5,100 

"Woman in Red" (F. N.) 2,000 

"Ruggles of Red Gap" (Para.).... 9,000 

"The Little Colonel" (Fox) 6,000 

"The Mystery of Edwin Drood".. 5,000 

"Red Hot Tires" (F. N.) and.... 700 
"Maybe It's Love" (F. N.) (3 days) 

"Society Doctor" (MGM) 1,000 

(4 days) 

12,000 "David Copperfield" (MGM) 20,000 

(2nd week) 

"Under Pressure" (Fox) 3,400 

"Gambling" (Fox) 5,600 

"Sweet Music" (W. B.) 7,500 

"One More Spring" (Fox) 8,200 

(30c -42c) (8 days) 

"The Gilded Lily" (Para.) 10,500 

"The President 'Vanishes" (Para.) 3,800 

"Under Pressure" (Fox) 2,000 

"Wings in the Dark" (Para.)... 

"One More Spring" (Fox) 

"Sequoia" (MGM) 

"David Copperfield" (MGM). 

(3 days) 
"Red Hot Tires" (F.N.) and. 
"Maybe It's Love" (F. N.) 

(4 days) 


"Clive of India" (U. A.) 10,700 

(6 days) (30c-S5c) 

"The Good Fairy" (Univ.) 4.200 

. ,(2nd . week) 

"David Copperfield" (MGM) 11,500 

(2nd week) 

"The Good Fairy" (Univ.) 7,800 

(1st week) 

"Sweet, Music" (W. B.). 
(6 days) 


"Devil Dogs of the Air" (W.B.) 
(2nd week) 


High and Low Gross 

(Tabulation ccuvers period from January, 1934.) 
(Dates are 1934 unless otherwise specified.) 

High 12-29 "West of Pecos" 23,000 

Low 2-2-35 "One Exciting Adventure".. 8,500 
High 1-6 "Lady Killer" ( 

and "Girl Without a Room" j 12,000 
Low 2-2-35 "Maybe It's Love" ) 

and "Murder in the Clouds" } 3,300 

High 2-16-35 "White Lies" 28,000 

Low 1-19-35 "Evergreen" 7,000 

High 4-7 "Riptide" 22,000 

Low 2-16-35 '^'Clive of India" 9,000 

High 1-27 "All of Me" 39,000 

Low 1-19-35 "The County Chairman".... 21,000 
High 1-6 "Lady Killer" ) 

and "Girl Without a Room" f 12,000 
Low 2-2-35 "Maybe It's Love" and 7 

"Murder in the Clouds" J 4,200 

High 1-6 "Design for Living" 26,000 

Low 12-29 "Music in the Air" 5,000 

High 4-21 "The Lost Patrol" and ) 

"Three on a Honeymoon" ( 8,100 
Low 12-29 "I Am a Thief" and ) 

"Side Streets" ) 4,000 

High 9-29 "Belle of the Nineties" 18,800 

Low 12-22 "Gentlemen Are Born" and ) 

"Marie Galante" J 3,800 

High 5-19 "The House of Rothschild".. 18,000 

Low 7-28 "Here Comes the Navy 4,800 

High 3-10 "It Happened One Night" I 

and "Before Midnight" \ 16,700 
Low 11-17 "Jane Eyre" and ) 

"Young and Beautiful" J 4,200 

High 9-8 "The Cat's Paw" 16,000 

Low 11-24 "The Captain Hates the Sea" 5,000 

High 8-11 "She Loves Me Not" 66,000 

Low 5-26 "Thirty Day Princess" 19,000 

High 2-23-35 "Baboona" 8,500 

Low 10-27 "Kansas City Princess" 4,000 

High 1-5-35 "Big Hearted Herbert".... 25,000 

Low 6-16 "Registered Nurse , 12,000 

High 6-23 "Cockeyed Cavaliers" 30,000 

Low 12-1 "Kentucky Kernels" 8,000 

High 1-5-35 "Forsaking All Others".... 27,000 

Low 8-18 "Paris Interlude" 6,000 

High 9-8 "The Most Precious Thing in 

Life" 19,000 

Low 5-2-35 "Helldorado" 11,000 

High 5-5 "House of Rothschild" 30,000 

Low 4-28 "Looking for Trouble" 10,000 

High 10-27 "Six-Day Bike Rider" 7,000 

Low 12-15 "Silver Streak" 1,400 

High 4-7 "Wonder Bar" 20,000 

Low 3-17 "Journal of a Crime" 2,900 

High 11-10 "Desirable" 28,000 

Lew 5-19 "Where Sinnert Meet" 4,000 

High 1-12-35 "Forsaking All Others".. 28,000 

Low 12-29 "Private Life of Don Juan".. 3,500 

High 9-15 "CThained" 10,000 

Low 1-12-35 "Our Daily Bread" 2,000 

High 5-5 "House of Rothschild" 9,000 

Low 8-11 "I Give My Love" 1,200 

High 9-29 "Belle of the Nineties". 16,500 

Low 4-7 "She Made Her Bed" 800 

High 1-13 "Roman Scandals" 17,500 

T^w 9-29 "British Agent" 4,000 

High 2-17 "Hi Nellie" 19,500 

Low 12-29 "Hat, Coat and Glove" 1,000 

High 1-13 "Dinner at Eight" S,50G 

Low 6-9 "Uncertain Lady" 400 

High 4-14 "House of Rothschild" 25,171 

Low 12-29 "Music in the Air" 4,292 

High 12-8 "Imitation of Life" 12,200 

Low 3-3 "Fugitive Lover*" and I 

"The Poor Rich" f 1,500 

High 9-8 "Dames" 25,000 

Low 12-29 "Sweet Adeline" 6,300 

March 9. 1935 





Current Week 

Previous Week 


Gross Picture 



Apollo 1,100 25c -40c 

Circle 2,800 25c-40c 

Indiana 3,133 2Sc-40c 

Lyric 2,000 2Sc-40c 

Palace 3,000 25c-40c 

Kansas City 

Mainstreet 3,049 lSc-40c 

Midland 4,000 15c-40c 

Newman 1,800 25c-40c 

Tower 2,200 2Sc 

Uptown 2,000 25c-40c 

Los Angeles 

Filmarte 800 40c -55c 

Four Star 900 30c -55c 

Loew's State 2,416 30c-55c 

Paramount 3,596 30c-55c 

RKO 2,700 25c-65c 

United Artists... 2,100 25c-55c 

W. B. Downtown 3,400 25c-40c 


Century 1,650 25c-40c 

•One More Spring" (Fox) 2,250 

(2nd week) 

'The Scarlet Pimpernel" (U.A.).. 5,000 

•Woman in Red" (F. N.) 12,000 

'•Murder On A Honeymoon" 6,500 


'After Office Hours" (MOM).... 4,000 

"Woman in Red" (F. N.) 8,400 


'•After Cilice Hours" (MGM).... 16,700 

"Devil Dogs of the Air" (W.B.).. b.COO 
(7 days) 

"All the King's Horses" (Para.).. 2,800 
(4 days) 

"The Good Fairy" (Univ.) 6,500 

(2nd week) 

"Evergreen" (GB Pictures) 3,400 

(2nd week) 

'The Unfinished Symphony" 2,250 

(GB Pictures) (6 days) 

"The Iron Duke" (GB Pictures).. 3,100 

(2nd week) 

"Clive of India" (U. A.) 11,550 

(6 days) 

"The Whole Town's Talking".... 20,000 

"Sweet Music" (W. B.) 8,500 

(6 days) 

"High School Girl" (Foy) and.... 2,728 
"Sudan" (Foy) (6 days) 

"Carnival" (Col.) and 6,900 

"Maybe It's Love" (F. N.) 
(6 days) 

"Biography of A Bachelor Girl".. 


Capitol 2,547 25c-60c "The Iron Duke" (GB Pictures). 

His Majesty's.... 1,700 30c-60c 

Loew's 3,115 30c-6Cc 

Princess 2,272 30c-65c 

New York 

Astor 1,012 25c-75c 

Capitol 4,700 35c-$1.65 

Mayfair 2,300 35c-65c 

Palace 2,500 25c-75c 

Paramount 3,700 35c-99c 

Rialto 2,200 25c-65c 

Rivoli 2,200 40c-99c 

RKO Music Hall 5,945 35c-$1.65 

Roxy 6,200 2Sc-55c 

Strand 3,000 25c-55c 




20c -25c 


'lie Chan in Paris" (Fox) .... 



. 900 



Heads on a Pillow" (Liberty) 


RKO Orpheum.. 

. 2,900 



Whole Town's Talking" 







Gilded Lily" (Para.) 





First World War" (Fox).... 


(2nd week) 



25c -75c 


Iron Duke" (GB Pictures) . . 



'The Shepherd of the Seven Hills" 2,500 
(Ind.) (25c-75c) (2nd week) 

'The County Chairman" (Fox).... 9.000 
and "Lottery Lover" (Fox) 

"The Private Life of Don Juan" 7.500 
(U.A.) and "Runaway Queen" (U.A.) 

"Grand Old Girl" (Radio) 3,000 

(4 davs) 

"Sequoia" (MGM) 34,000 

"The Marines Are Coming" 6,800 


"The Good Fairy" (Univ.) 9,000 

"Rumba" (Para.) 38.000 

"Car 99" (Para.) 12,000 

"Folies Bergere" (U.A.) 34.000 

"One More Spring" (Fox) 75,000 

"Night Life of the Gods" (Univ.) 34.000 

"Sweet Music" (W. B.) 32,189 

"One More Spring" (Fox) 7,500 

(1st week) 

"The Best Man Wins" (Col.) and 2,500 
"The, Gilded Lily" (Para.) 

"The Good Fairy" (Univ.) 6,000 

"Devil Dogs of the Air" (W.B.).. 10,000 

"Sequoia" (MGM) 3,500 

"The Scarlet Pimpernel" (U.A.).. 5,000 

"Sequoia" (MGM) 6,900 

"Sweet Music" (W. B.) 6,500 

"The Good Fairy" (Univ.) 10,500 

(1st week) 

"Evergreen" (GB Pictures) 5,600 

(1st week) 

"The Blue Light" (I>u World) 1,900 

(6 days) 

"The Iron Duke" (GB Pictures).. 5,000 

(6 days-lst week) 

"David Copperfield" (MGM) 12,500 

(2nd \yeek) 

"Wings in the Dark" (Para.) 17,000 

"Devil Dogs of the Air" (W. B.) 8,400 

(2nd week) 

"The Winning Ticket" (MGM) and 4,200 
"Lottery Lover'' (Fox) (6 days) 

"Woman in Red" (F. N.) and.... 6,000 
"Lightning Strikes Twice" (Radio) 

"Wings in the Dark" (Para.).... 5,0)0 

'The White Cockatoo" (W. B.).. 1.300 

'I've Been Around" (Univ.) 2,000 

'The Good Fairy" (Univ.) 6,000 

"Kid Millions" (U. A.) 6,000 

'The First World War" (Fox).. 1,500 
(1st week) 

'Evergreen" (CiB Pictures) 3,000 

(2nd week) 

"Biography of A Bachelor Girl".. 10,000 
(MGM) and "Maybe It's Love" (F.N.) 

"The Shepherd of the Seven Hills" 5,000 
(Ind.) (1st week) 

"Wings in the Dark" (Para.) and 8,500 
"One Hour Late" (Para.) 

"Broadway Bill" (Col.) and 6,500 

"Among the Missing" (Col.) 
(2nd week) 

"Little Men" (Mascot) 6,000 

"David Copperfield" (MGM) 35,000 

(5th week) 

"A Notorious Gentleman" (Univ.) 8,000 

"Wings in the Dark" (Para.) 10,000 

"The Gilded Lily" (Para.) 28,000 

(2nd week) 

"Carnival" (Col.) 12,000 

"The Right to Live" (W. B.).... 15,000 

"The Scarlet Pimpernel" (U. A.).. 72,680 

(2nd week) 

"Behold My Wife" (Para.) 32.000 

"Devil Dogs of the Air" (W.B.).. 22,000 
(2nd week) 

High and Low Gross 

(Tabulation covers period from January, 1934.) 
(Dates are 1934 unless otherwise specified.) 

High 2-23-35 "One More Spring" 7,500 

Low 2-9-35 "Baboona" 2,000 

High 12-15 "Lady By Choice" 8,500 

Low 1-19-35 "The President Vanishes" ) 

and "Enter Madame" f 2,000 

High 3-2-35 "Woman in Red" 12,000 

Low 1-12-3S "Little Women" l,S0O 

High 12-22 "Murder in the Clouds".... 11,000 
Low 7-28 "Half a Sinner" and 1 

"Embarrassing Moments" i 2,000 

High 2-3 "Sons of the Desert" 12,500 

Low 12-12 "The Gay Bride" 2,750 

High 6-23 "Glamour" 23,000 

Low 1-12-35 "I Sell Anything" 2,000 

High 4-7 "Riptide" 21,400 

Low 12-22 "Private Life of Don Juan" 4,000 

High 9-29 "Belle of the Nineties" 14,000 

Low 8-25 "Ladies Should Listen" and I 

"Call It Luck" i 3,600 

High 1-12-35 "Broadway Bill" 14,000 

Low 5-5 "Let's Fall in Love" 4,000 

High 10-27 "Judge Priest" 9,200 

Low 1-27 "Good Bye Again" 1,700 

High 4-14 "Moon Over Morocco" 7,6K 

Low 6-30 "Island of Doom" 160 

High 3-3 "Devil Tiger" 7.800 

Low 12-15 "Have a Heart" 2,500 

High 4-7 "Riptide" 28,500 

Low 12-29 "Music in the Air" 4,206 

High 9-1 "Now and Forever" 29,998 

Low 12-22 "One Hour Late" 12,500 

High 3-31 "Little Women" 15,500 

Low 1-27 "Let's Fall in Love" 1,800 

High 1-20 "I'm No Angel" 13.000 

Low 5-12 "Sorrell and Son" 2,500 

High 9-8 "Dames" 20,000 

Low 12-29 "White Lies" and 1 

"The Last Wilderness" ( 4,900 

High 10-20 "Barretts of Wimpole 

Street" 6,500 

Low 9-29 "The Cat's Paw" 2,500 

High 11-3 "Our Daily Bread" 2,000 

Low 1-27 "Jimmy and Sally" 500 

High 1-5-35 "Romance in the Rain" 3,000 

Low 2-23-35 "I've Been Around" 2,000 

High 12-1 "One Night of Love" 6,800 

Low 8-25 "The Lady is Willing" 2,700 

High 8-18 "She Loves Me Not" 7,000 

Low 7-28 "Here Comes the Navy" 5,000 

High 10-20 "Girl of the Llmberlost". . . . 3,500 

Low 12-8 "Cimarron" 1,000 

High 4-14 "Private Life of Henry VIU" 4.000 
Low 7-7 "Sweden, Land of the Vikings" 2,000 

High 2-24 "Queen Christina" 13.500 

Low 12-22 "Great Expectations" and ] 

"Wake Up and Dream" j 3,500 
High 2-23-35 "Shepherd of the Seven Hills" 5,000 

Low 6-2 "All Quiet on the Western 

Front" 3,000 

High 12-8 "Six Day Bike Rider" 14,500 

Low 7-21 "Fog Over Frisco" and 1 

"Affairs of a Gentleman" f 4,500 
High 1-5-35 "Kid Millions" and I 

"Fugitive Lady" | 10,500 

Low 8-4 "House of Rothschild" and ( 

"Most Precious Thing in Life" f 4,500 

High 3-31 "House of Rothschild" 23,600 

Low 2-23-35 "Little Men" 6,000 

High 10-6 "Barretts of Wimpole Street" 65,860 

Low 12-29 "The Band Plays On" 4,500 

High 1-27 "Sixteen Fathoms Deep" 15,300 

Low 6-2 "Unknown Soldier Speaks" 1,250 

High 7-21 "Of Human Bondage" 16,200 

Low 12-22 "Babbitt" 6,500 

High 8-25 "Cleopatra" 72,000 

Low 8-11 "Elmer and Elsie" 10,500 

High 4-7 "The Lost Patrol" 32,800 

Low 5-12 "Success at Any Price" 7,700 

High 11-17 "Kid Millions" 51,000 

Low 2-23-35 "The Right to Live' 15,000 

High 1-5-35 "The Little Minister" 110,000 

Low 1-19-35 "Evergreen" 52,000 

High 12-1 "Imitation of Life" 44,000 

Low 6-30 "Affairs of a Gentleman" 13,700 

High 3-10 "Wonder Bar" 43,863 

Low 1-20 "Easy to Love" 9,271 



March 9 , 19 3 5 



Oklahoma City 

Capitol 1,200 10c-41c 

Liberty 1,500 10c-35c 

Midwest 1,500 10c-56c 

Warner 1,900 10c-56c 


Brandeis 1,200 25c-40c 

Omalia 2,200 25c-_40c 

Orpheum 3,000 25c-40c 

Paramount 2,500 25c-55c 


Aldine 1,200 35c -55c 

Arcadia 600 25c-50c 

Boyd 2.400 35c-55c 

E:arle 2,000 25c -55c 

Fox 3,000 40c -65c 

Karlton 1,000 25c-40c 

Keith's 2,000 30c-50c 

Locust l-»Ofl 55c-65c 

Roxy Mastbaum. 4,800 40c-65c 

Stanley 3,700 35c-S5c 

Stanton 1,700 30c-50c 

Portland, Ore. 

Broadway 1,912 25c-40c 

May fair 1,700 25c-40c 

Oriental 2,040 15c-2Sc 

Orpheum 1,700 25c-40c 

Paramount 3,008 25c-40c 

United Artists... 945 25c-40c 

San Francisco 

Fox 4,600 lSc-40c 

Golden Gate 2,800 25c-40c 

Orpheum 3,000 15c-40c 

Paramount 2,670 25c-40c 

St. Francis 1,400 15c-S5c 

United Artists... 1,200 15c-53c 

Warfield 2,700 25c-65c 


Blue Mouse 950 25c-55c 

Fifth Avenue ... 2,500 25c-55c 

Liberty 1,800 15c-S0c 

Music Box 950 25c-55c 

Music Hall 2,275 25c-55c 

Orpheum 2,450 23c- 50c 

Paramount 3,050 25c-.f5c 

Current Week 


■'Anne of Green Gables" (Radio). 

•Hat, Coat and Glove" (Radio). 

(4 days) 
"Their Big Moment" (Radio) . . 

(3 days) 

■Sweet Music" (W. B.) 


Previous Week 

Picture Gross 

'Living on Velvet" (F. N.). 

"The Whole Town's Talking" (Col.) 
and "Maybe It's Love" (F. N.) 
(8 days) 

"Devil Dogs of the Air'' (W.B.). 

(8 days) 

"Biography of A Bachelor Girl" 7,000 
(MGM) and "Secret of the Chateau" 

"Charlie Chan in Paris" (Fox)... 5,200 

(3 days) (35c-5Sc) 
"The Night Is Young" (MGM).. 2,000 
and "Helldorado" (Fox) (4 days) 


'The Scarlet Pimpernel" (U.A.).. 6,000 

(6 days-3rd week) 

"Lives of A Bengal Lancer'' 2,700 

(Para.) (6 days) 

"After Office Hours'' (MGM).... 14,000 

"I Am A Thief" (W. B.) 14.000 

(6 days) 

"The Little Colonel" (Fox) 25,000 

(6 days) 

"Gigolette" (Radio) , 2,20C 

(6 days) 

"David Copperfield" (MGM) 3,300, 

(5 days ■2nd week) 

"The Iron Duke" (GB Pictures) 4.000 

(6 days) 

"Living on Velvet" (W.B.) 32,000 

(8 days) 

"Sweet Music" (W. B.) 13,000 

"Sequoia" (MGM) 7,500 

(8 days) 

"Mystery of Edwin Drood" 4,500 



"Woman in Red" (F. 




"Red Hot Tires'' (W. 



(4 days) 


"Secret of the Chateau 

" (Univ.).. 


(3 days) 


"Clive of India" (U. 




"The Little Minister" 

(Radio) .... 



"Carnival" (Col.) and. 


"Gentlemen Are Born" 

(F.N.) (8 days) 


'Bordertown" (W. B.) and 7,400 

'Evergreen" (GB Pictures) 

"The Band Plays On" (MGM).. 
(3 days) 

"The Iron Duke" (GB Pictures)., 
and "I've Been Around" (Univ.) 

(4 days) (2Sc-35c) 



"The Scarlet Pimpernel" (U.A.).. 

(6 days -2nd week) 

"The Gilded Lily" (Para.) 2,900 

(8 days) 

"The Night Is Young" (MGM).. 6,500 
(5 days) 

"The Winning Ticket" (MGM).. 14,500 

(6 days) 

"One More Spring" (Fox) 18,500 

"Enchanted April" (Radio) 3,000 

(6 days) 

"David Copperfield" (MGM) 4,300 

(6 days- 1st week) 

"The Good Fairy" (Univ.). 


"Devil Dogs of the Air" (W. B.) 14,000 
(8 days) 

"Mills of the Gods" (Col.) 2,800 

(4 days) 

"David Copperfield 
(2nd week ) 

"The Little Colonel" (Fox) 3,500 "Broadway Bill" 

(MGM) 5,000 

(Col.) 3,900 

"The Marines Are Coming" (Mascot) 4,000 
(25c -40c) 

"The Good Fairy" (Univ.) 5,OJ0 

"One More Spring" (Fox) S,606 

"Little Minister" (Radio) 2,500 

"Sweet Music" (W. B.).... 
"The Whole Town's Talking" 



"The Scarlet Pimpernel" (U.A.).. 

"Woman in Red" (F. N.) and... 
"Little Men" (Mascot) 

"Notorious Gentleman" (Univ.) .... 

"The Good Fairy" (Univ.) and 

"Mystery Man" (Mono.) (2nd week) 

5,000 "After Office Hours" (MGM).... 4,800 



"Living on Velvet" (W.B.) and.. 8,500 
"All the King's Horses" (Para.) 

"Devil Dogs of the Air" (W.B 6,500 

(2nd week) 

"Clive of India" (U. A.) 5,500 

(3rd week) 

"The Little Colonel" (Fox) 28,000 

"Devil Dogs of the Air" (W.B.).. 3,700 

(2nd week) 

"David Copperfield" (MGM)..,.... 3,400 

(4 days-2nd week) 

"The Gilded Lily" (Para.) 3,200 

(3 days) 

"Broadw,xy Bill" (Col.) 5,800 

(4th week) 

"The Good Fairy" (Univ.) 3,650 

'Sweet Music" (W. B.) 

"The Winning Ticket" (MGM) and 7,500 
"School for Girls" (Liberty) 

"Captain Hurricane" (Radio) 12,500 

"The Good Fairy" (Univ.) and.. 10,500 
"Mystery Man" (Mono.) (1st week) 

"Wings in the Dark" (Para.) and 10,500 
"The Band Plays On" (MGM) 

"Devil Dogs of the Air" (W.B.) 8,500 
(1st week) 

"Clive of India" (U. A.) 7,500 

(2nd week) 

"One More Spring" (Fox) 21,500 

"Devil Dogs of the Air" (W.B.).. 3,650 
(1st week) 

"David Copperfield" (MGM) 8,600 

(1st week) 

"Murder on A Honeymoon' 

'Biography of A Bachelor Girl" 
(MGM) and "Rocky Mountain 
Mystery" (Para.) 



"Broadway Bill" (Col.) 6,800 

(3rd week) 

"Clive of India" (U. A.) 3,300 

(2nd week) 

"The Good Fairy" (Univ.) 5,900 

'Mystery of Edwin Drood" (Univ.) 5,30C 

"Charlie Chan in Paris" (Fox) and 5,900 
"Baboona" (Fox) 

High and Low Gross 

(Tabulation covers period from January, 1934.) 
(Dates are 1934 iniless otherwise specified.) 

High 1-6 "Going Hollywood" 4,100 

Low 9-8 "You Belong to Me" 
High 8-11 "Great Flirtation" and 

"I Give My Love" 
Low 10-27 "Crime Without Passion".. 



High 12-29 "Bright Eyes" 9,540 

Low 5-26 "Merry Wives of Reno" 2,000 

High 1-5-35 "Forsaking All Others".... 13,000 

Low 12-22 "Limehouse Blues" 2,900 

High 1-12-35 "The Little Minister" 9,100 

Low 2-16-35 "Babbitt" and ) 

"Murder in the Clouds" f 3,000 

High 3-10 "Easy to Love" 17,250 

Low 12-29 "Babes in Toyland" and ) 

"Home on the Range j 5,000 

High 2-16-35 "The Secret Bride" 13,200 

Low 2-24 "Six of a Kind" and I 

"Good Dame" j 5.250 

High 5-5 "House of Rotlischild" 

Low 6-9 "Sorrell and Son" 

High 1-6 "Duck Soup" 

Low 1-27 "Women In His Life" 

High 1-6 "Little Women" 

Low 2-23-35 "The Night Is Young".. 
(5 days) 

High 4-7 "Harold Teen" 

Low 7-21 "Cockeyed Cavaliers" 

High 12-29 "Bright Eyes" 

Low 7-28 "She Was a Lady" 

High 11-3 "One Night of Love" 

Low 11-24 "Wednesday's Child" 

High 3-3 "Carolina" 

Low 1-5-35 "Sweet Adeline" 

High 10-6 "Caravan'' 

Low 11-17 "The Scarlet Letter" 







High 1-5-35 "Broadway Bill" 

Low 12-29 "Behold My Wife" 

High 3-31 "The Lost Patrol" 

Low 1-5-35 "Man Who Reclaimed His 

High 4-7 
Low 7-14 


"Wonder Bar" .... 
"The Circus Cnown" 
"I Give My Love" 
High 3-2-35 "The Little Colonel"... 
Low 1-19-35 "Behold My Wife" and 

"Defense Rests" 
High 5-26 "Merry Wives of Reno"... 
Low 10-6 "The Human Side" and 
"Hat, Coat and Glove" 

High 12-1 "Kentucky Kernels" 

Low 11-10 "Wednesday's Child" 

High 3-24 "David Harum" and 

"Once to Every Woman 
Low 6-30 "Now I'll Tell" and 

"Springtime for Henry" 
High 4-28 "House of Rothschild"... 
Low 8-4 "Paris Interlude" 

High 3-3 "Son of Kong" 

Low 8-18 "Sin of Nora Moran" and I 

"Along Came Sally" ( 

High 3-3 "It Happened One Night" 

Low 7-7 "Cockeyed Cavaliers" 

High 6-9 "Sing and Like It" 

Low 6-30 "Affairs of a Gentleman" ) 

and "Orders is Orders" f 

High 9-29 "Belle of the Nineties" 

Low 1-20 "Four Girls in a Boat" and I 

"Fugitive Lovers" f 
High 1-19-35 "The County Chairman".. 
Low 4-14 "Registered Nurse" and ) 

"Murder in Trinidad" j 

High 1-6 "Roman Scandals" 

Low 5-26 "No Greater Glory" 

High 12-29 "Bright Eyes" 

Low 3-31 "Gambling Lady" 

High 2-17 "Roman Scandals"... 
Low 7-7 "Tomorrow's Children". 

High 4-14 "Riptide" 

Low 3-24 "Fashions of 1934"... 

High 2-16-35 "Broadway Bill" (2d week) 
Low 10-6 "Jane Eyre" and I 

"King Kelly of U. S. A." J 

High 4-14 "Spitfire" 

Low 1-26-35 "Man Who Reclaimed His 


High S-26 "Wild Cargo" 

Low 2-2-35 "Enchanted April" (6 days) 

High 12-1 "Kentucky Kernels" 

Low 4-21 "Two Alone" and } 

"I Believed in You" f 

High 1-27 "Fugitive Lovers" 

Low 12-8 "Peck's Bad Boy" and ) 

"Menace" ( 






















Already a Sensation at Saenger 


New Orleans Stayed Up All Night to Cheer the Incredible Berk 
the Pre-release Engagements Specially Selected by Warners to 



are sufficient to set this musical into the money divi- 
sion .. .The 'Piano' and 'Broadway' numbers . . .will click 
with any audience," says Red Kann. Photo gives 
with 50 grand pianos in amazing "dance formations." 



s Mardi Gras World Premiere! 

DIGGERS OF 1933 ! 

ey Spectacles — the lOO's of Girls —the 12 Great Stars in First of 
et U p ''Gold Diggers" as Your Biggest Money Show in 2 Years! 




by Warren & Dubin, breath-takingly staged by 
Berkeley and radio-plugged for weeks .... 


March 9 , 1935 




Hollywood Correspondent 

IF MGM's "Titues Square Lady" has any 
success at the box office, credit will be 
due largely to Robert Taylor and Vir- 
ginia Bruce, who carry the leading roles on 
their own shoulders without help from any of 
the high priced names on the Metro payroll. 
And Miss Bruce and Taylor must in turn 
give credit for any success they have here 
or hereafter to Oliver Hinsdale, who is 
mainly responsible for development of the 
■company's talent. 

Mr. Hinsdale, though he has no official 
title, is in charge of all the younger contract 
players at the studio. His job is to recog- 
nize talent wherever he may see it, and to 
train it — a sort of combination scout and 
coach. He has as qualification for this job 
a record of eight years as head of the Little 
Theatre of Dallas, during which time he 
won the Belasco little theatre tournament 
each time he competed for it. 

Mr. Hinsdale has been with MGM the 
last four years, and players who have conne 
under his care, in addition to Virginia 
Bruce and Taylor, include Martha Sleeper, 
Muriel Evans, Betty Furness and Bill Tannen. 

His method of working, once he has his ma- 
terial, is comparatively simple. He trains them 
in stage technique and schools them from the 
beginning, teaching them how to carry them- 
selves, how to walk, and what to do with their 
hands, before he lets them read a line. 

He has other rookies who will be heard 
from soon. One in particular, a young woman 
named Agnes Anderson, who was "Miss De- 
troit" not so long ago, he rates as a second 
Katharine Cornell. Then there are Irene Her- 
vey, Jean Parker, Shirley Ross and others. 


All Hollywood is still talking of how 
Harry Cohen dominated this year's Acad- 
emy Awards banquet by receiving for his 
studio six out of the fourteen awards. 
Five of these were voted on the strength 
of his production "It Happened One 
Night." Clark Gable was given the statu- 
ette for the best acting performance; 
Claudette Colbert for the best actress; 
Frank Capra, best director, Robert Riskin, 
best adaptation, and the film was given 
the award for the best picture of the year. 
In addition, Columbia won the award for 
the best sound recording, for "One Night 
of Love." 

The banquet itself proved to be a brilliant 
affair. Irvin S. Cobb lent humor and charm to 
the job of master of ceremonies. Major Nathan 
Levinson presided in the absence of Frank 
Lloyd, the Academy's president. 

Surprise climax came when Mr. Cobb pre- 
sented little Shirley Temple with a miniature 
statuette as a special award for the greatest 
individual contribution to the screen in 1934. 


Carl Laemmle, Sr., has returned to the 
studio after a month's confinement to his home 
with an eye infection and is quite active pre- 
paring for one of the company's most active 
production seasons. 

* * * 

Before leaving for New York, Samuel Gold- 

wyn signed David Niven, English actor, to a 
seven-year contract. 

J;: * * 

Darryl Zanuck plans to produce Sir Walter 
Scott's immortal "Ivanhoe," as one of the big 
spectacles of the year, with production tenta- 
tively to start the middle of July. There are 

fifteen important characters to the story. 

^ ^ 

Ernst Lubitsch Is determined to surround 
himself with as many top line directors as 
possible. As a forerunner to this campaign 
he has signed Lewis Milestone to a two- 
year contract, his first assignment, "Thir- 
teen Hours By Air," co-featuring Gary 

Cooper and Carole Lombard. 

* * * 

The new studio basic contract for actors 
went into effect March 1st and will be recog- 
nized by the 12 major producing organizations 
signatory, as their standard contract with free- 
lance and day player actors for the next five 

More than 300 studio officials gathered at the 
Fox Westwood Hills studio Thursday night to 

familiarize themselves with the covenants. 

* * * 

Paramount Studio Organization 

The Paramount studio, under the new leader- 
ship of Henry Herzbrun and Ernst Lubitsch, 
has established a definite studio organization 
consisting of 13 departmental executive heads 
and ten associate producers. Executive per- 
sonnel, in the order of listing and importance, 
is as follows : Henry Herzbrun, vice-president 
and general manager ; Ernst Lubitsch, manag- 
ing director of production; Benjamin Glazer, 
Arthur Hornblow, Jr., Harold Hurley, Wil- 
liam Le Baron, Albert Lewis, Louis D. Lighton, 
Douglas MacLean, Charles R. Rogers, E. Lloyd 
Sheldon and Bayard Veiller, associate pro- 

A. M. Botsford is listed as executive assistant 
to Henry Herzbrun ; Fred Leahy, production 
manager ; Frank Brandow, studio manager ; A. 
C. Martin, studio comptroller : Jacob Karp, 
resident attorney for studios ; Bogart Rogers, 
head of scenario department ; Jeff Lazarus, 
chairman of editorial board ; Fred Datig, casting 
director ; Nathaniel Finston, director of music 
department ; Tom Baily, studio publicity direc- 
tor, and William Pine, studio advertising and 
exploitation director. 

^ ii= 

The past week saw Hollywood's studios 
making radical changes in production schedules. 
Work started on nine features. More than a 
dozen that had kept the calendar crowded were 

At Fox the first to start was "Gaucho 
Lover," in which will be seen Warner Baxter, 
Ketti Gallian, J. Carrol Naish, Arminda, Blanca 
Vischer, George Irving and John Miljan. Also 
before the cameras is "Secret Lives," with 
Mona Barrie, Gilbert Roland, Hardie Albright, 
Herbert Mundin and Nick Foran. The last of 
the trio is the long-deferred "Red Heads on 
Parade," a Lasky production, which will pre- 
sent John Boles, June Knight, Alan Dinehart. 

Monogram began "The Hoosier Schoolmas- 
ter, with Norman Foster, Charlotte Henry, 
Dorothy Libaire, Sarah Padden, Otis Harlan, 
Fred Kohler, Jr., Russell Simpson, William V. 
Mong, Tommy Bupp, Wallace Reid, Jr., George 
Hayes and Joe Bernard. 

At Paramount work started on "The Glass 
Key." George Raft is starred with the new- 
comer, Rosaline Culli. The supporting cast in- 
cludes Edward Arnold, Charles Richman, Guinn 


Williams, Tammany Young, Raymond Milland, 
Harry Tyler, Dean Jagger and Emma Dunn. 

"Let 'Em Have It," based on the De- 
partment of Justice war on gangsters, was 
started by Reliance Pictures for United 
Artists release. With additions to come, 
the present cast Includes Richard Arlen, 
Virginia Bruce, Bruce Cabot, Eric Linden. 

Columbia began work on "Air Fury," an- 
other topical production of aviation activities, 
the cast being headed by Ralph Bellamy, Tala 
Birell, Douglas DumbriUe, Billie Seward', and a 
newcomer, Victor Killian. 

Work started at Warner on "Alibi Ike," a 
Joe E. Brown picture. The cast to date in- 
cludes Oliva DeHaviland, William Frawley, 
Roscoe Karns and Ruth Donnelly. 

Radio's contribution to the new activity is a 
Wheeler and Woolsey comedy titled "Nit 

Of the completed pictures, two are historicals 
and two are "shockers." 

First of Radio's completed three is "Strangers 
All." In this May Robson, Preston Foster, 
Florine McKinney, William Bakewell, Leon 
Ames and Samuel Hinds will be seen. "Syl- 
vestre Bonnard" will present Anne Shirley, O. 
P. Heggie, Helen Westley, Elizabeth Patter- 
son, Trent (Junior) Durkin, John Qualen, 
Hilda Vaughn and Etienne Girardot. The third 
feature stars William Powell and Ginger 
Rogers, with Gene Lockhard,. Ralph Morgan, 
Leslie Fenton and J. Farrell Macdonald fea- 

Both the 20th Century features are histori- 
cals. In "Cardinal Richelieu" George Arliss 
has the title role. Best known of the large sup- 
porting cast are Halliwell Hobbes, Edward 
Arnold, Violet Kemble-Cooper, Katherine 
Alexander, Maureen O'Sullivan, Caesar Ro- 
mero, Francis Lister, Douglas Dumbrille, Lums- 
den Hare, Russell Hicks, Murray Kinnell, Her- 
bert Bunston and Pat Somerset. "Les Misera- 
bles" stars Fredric March and Charles Laugh- 

Universal completed a shocker and a western. 
In the first will be seen "Werewolf of London," 
Henry Hull, Warner Oland, Valerie Hobson, 
Lester Matthews, Clark Williams, Zeflie Til- 
bury, Charlotte Granville, Spring Byington, 
Lawrence Grant, J. M. Kerrigan and Louis 
Vincenot. "The Showdown" is a Buck Jones 
which features Marion Shilling and Niles 

Another shudder feature, "Vampires of the 
Night" (tentative title), was finished at MGM. 
The cast lists Lionel Barrymore, Elizabeth 
Allen, Bela Lugosi, Lionel Atwill, Jean Hers- 
holt, Henry Wadsworth, Donald Meek. 

Paramount's completed job is "Hold 'Em 
Yale," a Damon Runyon yarn, in which will 
appear Patricia Ellis, Larry Crabbe, Caesar 
Romero, William Frawley, Andy Devine. 

"Travelling Saleslady" was finished at War- 
ner. It will present Joan Blondell, William 
Gargan, Hugh Herbert, Ruth Donnelly, Grant 
Mitchell, Glenda Farrell, Johnny Arthur, Al 
Shean, Mary Treen and Gordon Elliott. 

At Fox "$10 Raise" was finished. Edward 
Everett Horton is starred, with Karen Morley, 
Alan Dinehart, Glen Boles, Berton Churchill, 
Rosina Lawrence, Ray Walker, Frank Melton 
and William Benedict in support. 

Majestic completed "Thunder in the Streets." 
The complete cast includes Donald Cook, Irene 
Hervey, Doris Lloyd, Edwin Maxwell, William 
L. Millrnan, Russell Simpson, John Kelley, 
Edwin Argus, Billy West, Wheeler Oakman, 
Frank LaRue and Fern Emmett. 



March 9, 1935 

This department deals with new product 
from the point of view of the exhibitor 
who is to purvey it to his own public 

McFadden's Flats 


Comedy, in which there is more than the 
usual quota of laughs in dialogue, action, situa- 
tions and characterizations, is this pictures en- 
tertainment and showmanship essence. Having 
but one objective— to amuse— it sticks faithfully 
to that premise, and there is wholesome enter- 
tainment for both adults and youngsters. While 
the main motivation concerns itself with Mc- 
Fadden and his ambitions, it also is tinged with 
pleasing bits of domestic drama and menaced 
juvenile romance. 

Modernized in production values as well as 
theatric presentation, the picture is a brand 
new portrayal. Consequently there is much that 
is novel, setting this version of the wellknown 
story completely apart from anything that has 
gone before. 

McFadden, culminating his rise from hod- 
carrying day laborer to wealthy contractor, 
decides to build a large apartment house. Early 
sequences are given showing the affection that 
exists between him and his Scotch friend, Jock 
MacTavish. Turning to domestic drama, the 
problem of what to do with tomboy daughter 
Molly next becomes the center of attention. 
The decision to send her off to finishing school 
is not too happy for her sweetheart, Mac- 
Tavish's son Sandy. 

Financial troubles beset the ambitious Mc- 
Fadden and the supposedly tight Scotchman 
comes to his rescue, pledging his life's savings 
to carry on the building work, but under the 
condition that McFadden must not know it. 
Comes Labor Day and Molly, who has become 
a social light friend of the wealthy Hall fam- 
ily, is with them in New York. A parade 
passes and the girl is abashed to see her father 
carrying a golden hod leading the parade. He 
is laughed at by her snooty friends, and the 
girl leaves them, returning to the just com- 
pleted flats. 

She prevails upon her father and mother to 
throw a grand party for the Halls. The antics 
of all the old McFadden friends and neighbors 
amaze and amuse the aristocrats. As shy Sandy 
is left in the background Bob Hall tries to win 
Molly only to have his efforts win him a 
beating up from Sandy. Meanwhile, Mr. Hall 
and McFadden, who suddenly have discovered 
they were bricklayers together in the old days, 
are carrying on in high carnival in the library. 
Under the influence of good liquor they pro- 
ceed to contest each other in a brick-laying bat- 
tle — with books. 

The upshot is that Hall thanks Sandy for 
walloping his son; MacTavish is assured that 
his secret investment is secure as Hall and 
McFadden enter into a contracting partner- 

Concentrate on the motivating subject mat- 
ter — fun — and let patrons know that there is 
plenty of pastime in it fully worthy of the 
admission price. There are plenty of leads in 
all the feature's phases, action, dialogue, situa- 
tions and production settings, which should in- 
spire some unique exploitation. Walter C. 
Kelly, the wellknown Virginia judge of the 
vaudeville stage, has been in pictures before, 
but this in his first starring role. Much can 
be done with him and also Andy Clyde, more 

familiar as a short subject comedian. — McCar- 
THYj Hollywood. 

Produced and distributed by Paramount. Produced 
by Charles R. Rogers. Directed by Ralph Murphy. 
Play by Gus Hill. Screen play by Arthur Caesar 
and Edward Kaufman. Adaptation by Casey Robin- 
son. Additional dialogue by Andy Rice. Sound, Earl 
Hayman. Film editor, Joseph Kane. Art directors. 
Hans Dreier and John Goodman. Photographed by 
Ben Reynolds. P. A. C. Certificate No. 585. Running 
time, when seen in Hollywood, 67 minutes. Release 
date, March 22, 1935. General audience classification. 

Dan McFadden Walter C. Kelly 

Jock MacTavish : Andy Clyde 

Sandy MacTavish Richard Cromwell 

Nora McFadden Jane Darwell 

Molly McFadden Betty Furness 

Mr. Hall George Barbier 

Mary Ellen Hall Phylhs Brooks 

Robert Hall Howard Wilson 

Mrs. Hall Nella Walker 

JeiTerson Frederick Burton 

Tim Malone Pat Moriarity 

Mrs. Bernstein Esther Michelson 

Mrs. Bono Anna Demetno 

Teacher Mary Forbes 

Gottschalk Lee Kohlmar 

Love in Bloom 

Romance with Comedy 

This is the kind of attraction which from an 
exploitation viewpoint possesses many adaptable 
values. Its entertainment quality, strictly aver- 
age commercial in caliber, hardly substantiates 
the showmanship potentialities. Basically the 
yarn is a love story, embellished with comedy 
and music. 

As it follows a trite and often used premise, 
Joe Morrison and Dixie Lee (Bing Crosby's 
wife) are the in-love boy and girl. Morrison 
sings several songs, most appealing of which 
are "Let Me Sing You to Sleep with a Love 
Song" and "My Heart is an Open Book." Burns 
and Allen contribute the familiar brand of com- 
edy, the most laugh-provoking of which are 
Gracie's traffic ticket destroying experience with 
the motor cop and her selling of the music 
store to its owner. 

Given a comedy circus carnival opening, the 
story moves to New York where Larry and 
Violet are bounced out of their respective 
rooms for nonpayment of rent. Their mis- 
fortunes weld a bond of friendship and they 
eventually promote a job in Pop's music store. 
As song pluggers, they boost the old man's 
business phenomenally. Sentiment grows apace. 
Larry is ambitious to be a song writer. But 
when Pop pays them off, Gracie and George 
appear to grab the cash and it is revelead that 
without Violet the Downey Carnival is going 
on the rocks. Getting rid of the in-law leeches, 
Larry and Violet decide to get married, but 
drunken Dad Downey appears at the church 
to shame Violet and she deserts her suddenly 
successful song writer at the altar. The semi- 
finale shows Larry's "My Heart is an Open 
Book" being a worldwide hit, arranged in the 
tempo of every nation's music and even as a 
symphonic piece. Finally, Larry buys a half 
interest in the Carnival so he can have Violet 
with him all the time. 

Merely adapting the elements that the pict- 
ure uses in its own motivation permits a brand 
of unique interest-creating exploitation. From 
the early carnival atmosphere through the se- 
quences that present the calliope over which 
Burns and Allen preside, the boarding house 
episodes, the sequences in the music store and 

the novel gag of a vvorld spinning to show the 
popularity of the song hit, there are numberless 
ideas for tricky showmanship. But as the 
smash entertainment quality seldom approaches 
that of the potential showmanship, care should 
be taken not to go overboard and promise 
things that the picture cannot deliver. — Mc- 
Carthy, Hollywood. 

Produced and distributed by Paramount. Produced 
by Benjamin Glazer. Directed by EUliott Nugent. 
Screen play and adaptation by J. P. McEvoy and 
Keene Thompson. Sound, Harold Lewis. Film editor, 
William Shea. Art directors, Hans Dreier and Robert 
Odell. An original screen play by Frank R. Adams. 
Additional dialogue by John P. Medbury. Lyrics and 
music by Mack Gordon and Harry Revel. Photo- 
graphed by Leo Tover. P.C.A. Certificate No. 584. 
Running time, when seen in Hollywood, 77 minutes. 
Release date, March 15, 1935. General audience classi- 


George George Burns 

Gracie Gracie Allen 

Larry Deane Joe Morrison 

Violet Downey Dixie Lee 

Colonel "Dad" Downey J. C. Nugent 

Pop Lee Kohlmar 

Sheriff Richard Carle 

Mrs. Cassidy Mary Foy 

The Cop Wade Boteler 

Edith Bowen Marian Mansfield 

Waitress Julia Graham 

Cashier Sam Godfrey 

Beggar Jack Mulhall 

Mother in Music Store Frances Raymond 

Daughter in Music Store Bernadine Hayes 

Sexton Harry Bradley 

Rector Douglas Wood 

Strong Man William Gorsman 

1st Boy Douglas Blackley 

2nri Boy Bennv Baker 



( Radio ) 

Dramatic Romance 

"Laddie" is the kind of picture whose presen- 
tation should be a pleasure to audiences. Essen- 
tially, it is homespun and down to earth. It 
deals with simple folk and simple situations in 
an understandable, human way. Sans any scene- 
tearing theatrics, but nevertheless dramatic 
and real, it tells an interesting and thoroughly 
possible love story. Continuously aimed at 
stirring the most sentimental emotions, it makes 
use only of tried and proved ingredients. 
While, in the main, the pages of Gene Strat- 
ton Porter's original story have been closely 
followed, and all the color and character of its 
locale, time and individuals have been retained, 
certain concessions have been made to modern- 
ism. Probably as a condescension to the present 
child artist vogue, the character of Little 
Sister, finely played by Virginia Weidler, is 
developed to such an extent that for most 
practical purposes she is the star of the show. 

The picture is the story of the Stanton and 
Pryor families, farmer folk with the Pryors 
considering themselves a bit superior, living 
in the Indiana country made famous by the 
Gene Stratton Porter books. It is the love 
story of Laddie and Pamela and it is also the 
story of Little Sister and the influence she 
exerted in transforming a dynamite-laden situa- 
tion into one of happiness. 

As the picture unreels its elements of drama, 
romance, comedy and threatened tragedy, with 
an aura of understandable humanness applied 
to each quality, there is a cohesion that makes 
for quick interest creation. While there are 
times when a tear or two are in order, there 
are as many occasions in which to smile and 
laugh. There is a brand of tense suspense lead- 

March 9 , 19 3 5 



.ng- up to the aiiti-climax which greatly accents 
the final appeal. 

In any analysis, "Laddie" is an all-family 
picture. Such a terming, however, does not 
signify that the picture is something directed 
primarily at the general trade of the secondary 
theatres. It does have unique appea,l for women 
and because of Virginia Weidler is of more 
than usual interest to children. Yet wherever, 
regardless of the pull — or its lack — of big 
names, good entertainment is appreciated, this 
picture has in story, acting and production 
quality all that is necessary to give audiences 
full value for the money they pay to see it. — 
McCarthy, Hollywood. 

Produced and distributed by RKO Radio. Produced 
by Pandro S. Berman. Directed by George Stevens. 
From the novel by Gene Stratton-Porter. Screen play 
by Ray Harris and Dorothy Yost. Photographed by 
Harold Wenstrom. Art directors, Van Nest Polglase 
and Perry Ferguson. Musical director, Roy Webb. 
Recorded by Hugh McDowell, Jr. Edited by James 
Morley. Running time, when seen in Hololyvvood. 82 
minutes. Release date, March 29, 1935. General audi- 
ence classification. 


Laddie Stanton John Beal 

Pamela Pryor Gloria Stuart 

Little Sister Virginia Weidler 

Mr. Pryor Donald Crisp 

Mrs. Stanton Dorothy Peterson 

Mr. Stanton Willard Robertson 

Xobert Pryor William Bakewell 

Sally Stanton Gloria Shea 

Shelly Stanton Charlotte Henry 

Leon Stanton Jimmy Butler 

Peter Dover Grady Sutton 

Candace Greta Meyer 

Mrs. Pryor Mary Forbes 

Death Flies East 

( Columbia) 

There is entertainment of an average sort 
in this dramatic, somewhat mysterious, occa- 
sionally amusing and generally active story of 
a transcontinental flight which revolves about 
an act of charity, suddenly developed romance, 
pursuit by police, a murder and incidental bits 
of dramatic effect. 

In the fact that the film has the larger part 
of its setting in the interior of a transconti- 
nental plane, there may be exploitation tieup 
possibilities. The title appears salable in itself, 
giving implication of action and mystery. 

The cast is not especially strong in drawing 
power, the top names being Conrad Nagel and 
Florence Rice. The others are only slightly 
familiar. Stressing the action-mystery elements 
in the story would appear the most practicable 

Miss Rice is released from California prison 
on parole, after her conviction with her former 
employer, a noted doctor, on a charge of poison- 
ing. One condition of her parole is that she 
remain within the state until her sentence ter- 
minates. She learns that a man implicated with 
them is about to be electrocuted in Sing Sing 
prison, New York. A confession from him 
would clear herself and the doctor. She deter- 
mines to break her parole, fly east. 

Aboard the plane are Nagel, college pro- 
fessor bound for Washington with an im- 
portant munitions formula, who immediately 
sees through Miss Rice's flimsy disguise, and 
is attracted to her. Also on board are a private 
detective, an insurance salesman, a business man, 
a deaf woman, a New York doctor, a Japanese 
who had boarded the plane at its first stop, 
and another man. 

The complications develop early, as the 
Japanese eyes Nagel's valuable brief case, as the 
private detective is found dead of poisoning, and 
the young man is found slightly poisoned. The 
plane goes back to Dallas, an investigation 
makes it look bad for Miss Rice, whose identity 
and her broken parole have been uncovered, 
when Nagel steps into the breach, conducts a 
little experiment and discovers that the young 
man, who poisoned himself to avert suspicion, 
had murdered the detective because of a long- 
standing personal grudge. Miss Rice is held 
for the California authorities, Nagel flies ahead 
to get the confession and obtain her freedom 
and that of the doctor, and the little Japanese 
turns up with a receipt for the brief case, which 

he delivered at Washington, after having taken 
it wiicn, he decided, Nagel did not know how 
to take care of it properly. Miss Rice and Mr. 
Nagel return to California together. 

This picture may be sold via lively exploita- 
tion somewhere in the midweek. — Aaronson, 
New York. 

Produced and distributed by Columbia. Story by 
Philip Wylie. Screen play by Albert Demond and 
Fred Niblo, Jr. Director, Phil Rosen. Assistant 
director, Arthur Black. Cameraman, Al Siegler. 
Sound engineer. Edward Bernds. Film editor, John 
Rawlins. Running time. 65 minutes. Release date, 
Feb. 7, 1935. P.C.A. Certificate No. 582. General audi- 
ence classification. 


John Robinson Gordon Conrad Nagel 

Evelyn Vail Florence Rice 

Evans Raymond Walburn 

Helen Gilbert Geneva Mitchell 

Baker Robert Allen 

Burroughs Oscar Apfel 

Satu Miki Morita 

Dr. Landers Pumell Pratt 

Mrs. Madison Irene Franklin 

Dr. MofTat George Irving 

Pastoli Adrian Rosley 

O'Brien Fred Kelsey 

Wotkyns George Hayes 

Sunset Range 

(First Division) 

With Hoot Gibson back on the screen, "Sun- 
set Range" has all that the old westerns ever 
had. There's the atmosphere of the great out- 
doors and its spirit of adventure. There's the 
heroine tenderfoot girl who, coming to claim 
her ranch, finds herself involved in a conflict- 
ing romantic drama with the hero foreman 
cowboy. Of course, there are the menacing 
villains, this time eastern bank-robbing gang- 
sters, a la the modern action trend. Then there's 
the weakling brother, unwilling tool of the bad 
men, whose arrival on the scene makes possi- 
ble the thrilling wild riding, Cjuick shooting, 
man to man conflict and the eventual triumph 
of the forces of virtue. 

Bonnie arrives at the ranch, not knowing that 
among her baggage is a trunkful of hot money 
stolen from a bank by Grant's gangsters, who 
have forced Bonnie's brother, Eddie, to have a 
hand in their operations. Romance quickly 
springs up between the foreman, Reasonin' 
Bates, and the girl. When the gangsters show 
up to get the money, Bonnie learns how her 
brother is a part of the mob and tells this news 
to Reasonin'. He rounds up his cowboy aids 
to show the gangsters how real Americans deal 
with their menace to law and order. A thrill- 
ing chase, the gangsters in autos and the cow- 
boys aboard horse, winds up with the villains 
on the way to the calaboose and Reasonin' and 
Bonnie altar hound. 

Primarily, "Sunset Range" is an attraction 
to interest the youngsters, also something to 
entertain lovers of outdoor adventure. — McCar- 
thy, Hollywood. 

Produced by First Division Productions. Distributed 
by First Division Exchanges. Directed by Ray Mc- 
Carey. Story by Paul Schofield. Photographed by 
Gil Warrenton. Screen play by Paul Schofield and 
Ray Schrock. Running time, when seen Hollywood. 
55 minutes. Release date, March 15, 1935. General 
audience classification. 


Reasonin' Bates Hoot Gibson 

Bonnie Mary Doran 

Caswell John Elliott 

Grant Walter McGrail 

Eddie James Eagles 

Li Fong Eddie Lee 

Freddie Fred Oilman 

mance, in the persons of the leading players, 
Lyle Talbot and Mary Astor, and its menace, 
liandled by Gavin Gordon and Bradley Page. 
The yarn moves from the American tracks to 
the court room and prison, to South American 
tracks, and climaxes at the so-called Dayton 
track, in reality, the Indianapolis champion- 
ship speedway, and the famed SOO-mile battle of 
the wheels. 

Romance on the racetrack, playing up the 
action which lies in that active setting, com- 
bined with the selling of the names, appear to 
be the exploitation factors of chief importance. 

Talbot, with the capable young Frankie Darro 
as his idolizing mechanic and satellite, is me- 
chanic for Henry Kolker, master racing car 
builder. His daughter, Miss Astor, is herself 
a mechanic, more than a little interested in 
Talbot, a feeling he returns. There is no love 
lost between Talbot and Gordon, Kolker's rac- 
ing driver, Gordon being in love with Miss 
Astor as well. They fight, Talbot is fired, his 
friend Karns going with him. At a big race, 
Talbot gets a chance to race for an opposing 
company, and warns Gordon to be careful. 
Bradley and Gordon already have arranged a 
spike device which would throw off the track 
any car that approached too close to Gordon's. 
The two cars tangle, Gordon goes through the 
fence and is killed. 

Talbot is sentenced to 10 years for man- 
slaughter, but through the effort of Darro and 
Miss Astor a pardon is obtained, the guilt of 
Gordon and Page proved, but the night Miss 
Astor arrives at the prison with the pardon, 
Karns aids Talbot's escape. Under an assumed 
name Talbot becomes the most famous racing 
driver in South America. Miss Astor sud- 
denly discovers who he is, and invites him to 
race for father. Not realizing she knows, he 
accepts. Karns goes on ahead, he to follow at 
the last moment. 

Page tries to stop him by tipping off the 
authorities, but Talbot lands on the infield of 
the track after the race has started, with Karns 
at the wheel and Miss Astor riding as me- 
chanic. Talbot jumps into the race, wins in a 
thrilling sequence, and the jail break charge is 
effectively removed as an obstacle to romance. 
— Aaronson, New York. 

Produced and distributed by First National. Di- 
rector, D. Ross Lederman. Story and screen play by 
Tristam Tupper. Photography by Arthur Todd. Film 
editor, Frank McGee. Art directors, Anton Grot and 
Hugh Reticker. P. C. A. Certificate No. 458. Run- 
ning time, 61 minutes. Release date, Feb. 2, 1935. 
General audience classification. 


Wallace Storm Lyle Talbot 

Patricia Sanford Mary Astor 

Bud Keene Roscoe Karns 

Johnny Frankie Darro 

Robert Griffin Gavin Gordon 

Maggie Mary Treen 

Martin Sanford Henry Kolker 

Curley Taylor Bradley Page 

Governor John Elliott 

Old convict ■ Eddie Sturgis 

Red Hot Tires 

(First National) 
Action Dranna 

The fast-paced and melodramatic action of 
the automobile race tracks puts punch and speed 
into this film. It is good entertainment of its 
kind, and looks to warrant a playing position 
at the weekend. 

Highlighted by the crash and dash of the 
motor speedways, which supply the thrill and 
maintain the pace, the story has its incidental 
comedy, mostly from Roscoe Karns, its ro- 

Great Cod Cold 

( Monogram ) 

Well paced entertainment and a story re- 
volving about a strictly modern theme of the 
world of business of today, this production has 
a dominantly dramatic element, interspersed 
with little comedy and a romance which is more 
or less subordinated to the note of business 
unscrupulousness, the part played in affairs 
of men by the toss of a coin and the desire for 
revenge on the part of a girl whose happiness 
has been blighted by the activity of the business 
racket leader. 

The story will have to carry the weight of 
the selling, a situation made easier by the 
theme, since the cast names are not of sufficient 
marquee strength to attract patronage of them- 
selves. The leading players are Sidney Black- 
mer, Martha Sleeper and Regis Toomey. 

The business racket which has attracted con- 
siderable public attention in recent months is 
that of unscrupulous receiverships, a direct 
outgrowth of the depression, when large com- 
panies could not meet obligations on time, and 
creditors took action in the courts, demanding 

A Fi¥e Star Cast! 

B O Y E R 



The Star of Stars! Winner of 
the Motion Picture Acodemy 
of Arts and Science Award for 
the Best Performance of 1934 ! 




A Four Star Story! 





The Greatest Woman's Story of 
the Years! Translated to the 
Screen with a Star for Every Role! 

' Seen/" ""Jiojf 


by Gregory La Cava • A Paramount Release 



March 9 , 19 3 5 

the appointment of receivers, who, in turn, made 
fortunes from their court apixjintments. That 
rather timely theme might be used in the selling 
to attract patron attention. 

For the most part the production has been 
well handled, in construction and performances. 

Blackmer, well-to-do and honest stock mar- 
ket player, gets a lucky piece from interviewer- 
reporter Toomey, sells out just before the 
crash in 1929. Throughout he consults the re- 
sult of a toss of his lucky piece before making 
a vital decision. He is approached by un- 
scrupulous lawyers Edwin Maxwell and John 
T. Murray, to act as their "front" or receiver 
for actions they plan to force against com- 
panies unable to meet their obligations. They, 
through political connections, are to have 
Blackmer appointed receiver, with the proceeds 
of bleeding the companies to be split three ways. 

He accepts, takes over the large hotel owned 
by Miss Sleeper's father, who commits suicide. 
Miss Sleeper is determined to get evidence in- 
dicating Blackmer's crooked operation, and 
Toomey, whom she meets, agrees to assist, for 
personal reasons. Blackmer's failing for women 
is partly responsible for his eventual downfall, 
as he gets along too well with Maria Alba, wife 
of one of his henchmen, Ralph Harolde. 

When Blackmer takes over a big utilities 
company, he finds Miss Sleeper the private 
secretary, and continues her in the post. She 
obtains the evidence she wants, and at his 
apartment finds him shot, Harolde having dis- 
covered the affair with his wife. Blackmer 
hands her an important paper, the last step 
in the incriminating evidence, putting himself 
in a more sympathy-inspiring light before he 
dies, a gambler to the end. Miss Sleeper leaves 
— with Toomey. 

It appears the kind of material which adults 
may find entertaining, there being nothing in 
it for children. — Aaronson, New York. 

Produced and distributed by Monogram. Directed 
by Arthur Lubin. Adapted by Norman Houston. 
Additional dialogue by Jefferson Parker. Story by 
Albert J. Meserow, Elynore Dalkhart. Art director, 
E. R. Hickson. Photography, Milton Krasner. Editor, 
Jack Ogilvie. Sound, T. A. Stransky, Jr. P. C. A. 
Certificate No. 623. Release date, April 15, 1935. 
Running time, 71 minutes. Adult audience classi- 


John Hart Sidney Blackmer 

Marcia Harper Martha Sleeper 

Phil Stuart Regis Toomey 

Gert Gloria Shea 

Nitto Edwin Maxwell 

Frank Nitto Ralf Harolde 

Elena Nitto Maria Alba 

Simon John T. Murray 

Square Shooter 

( Columbia ) 

This western is much like all the others. It 
provides lively, fast action entertainment for 
the weekend position on the weekly program, 
and for the patrons who desire and enjoy west- 

With Tim McCoy in the leading role, the 
exhibitor has something to sell to the many 
followers this western star boasts. Although 
he has appeared from time to time in many 
another action film of various sorts, his popu- 
larity appears to lie in his portrayal of western 
roles. In support, taking care of the romantic 
aspect is Jacqueline Wells, with the very fa- 
miliar J. Farrell MacDonald in a minor role. 

Against the usual western scenic background 
is^ told^ the accustomed active story. McCoy, 
with his friend, John Darrow, returns to Mc- 
Coy's western home town, is taken in by his 
old friend, the local doctor, and causes con- 
siderable stir among several elements of the 
town. McCoy, it seems, has emerged from jail 
after serving sentence for a crime which we 
are assured he did not commit, the murder of 
his uncle. 

Three unscrupulous gentlemen contrived to 
share, respectively, a mine, a ranch and a good 
deal of money which rightfully should have been 
McCoy's. And there is a missing will to prove 
his right to the property. The three plot to put 
McCoy out of the way, while he, finding no 

ally in the law, bands together a group of men, 
all of whom were wronged by at least one of 
the three, and proceeds to prey upon them 
from a secret hideout in the mountains. 

Darrow, who had been shot accidentally in 
an attempt on McCoy's life, is confined to the 
house and develops a deep interest in Miss 
Wells, the doctor's daughter. When he sees 
McCoy kissing her, he reveals the McCoy hide- 
out to the three men. McCoy and the doctor are 
captured and about to be shot when the repentant 
Darrow, riding for help, arrives to save the 
day, following a confession by the trio of the 
murder of which McCoy was convicted. 

McCoy steps aside so that Miss Wells and 
Darrow, whom she really loves, may be to- 
gether. — Aaronson, New York. 

Produced and distributed by Columbia. Story and 
screen play, Harold Shumate. Director, David Sel- 
man. Assistant director, Norman Deming. Camera- 
man. George Meehan. Sound engineer, Lodge Cun- 
ningham. Film editor, Al Clark. Running time, 57 
minutes. Release date, Jan. 21, 1935. P.C.A. Certifi- 
cate No. 409. General audience classification. 


Tim Baxter Tim McCoy 

Sally Wayne Jacqueline Wells 

Dr. Wayne Erville Alderson 

Miller Charles Middleton 

Johnny John Darrow 

Sheriff J. Farrell MacDonald 

Thorne Wheeler Oakman 

Pete Steve Clark 

The Triumph of 
Sherlock Holmes 

( Gaumont-British) 
Mystery Drama 

Exceptional fidelity to the atmosphere and 
characterization of the Conan Doyle stories is 
the outstanding quality of this British picture, 
one of a series made for Gaumont British dis- 
tribution, in the Twickenham studio. There is 
suspense and a surprise finish. 

Arthur Wontner's resemblance to Holmes as 
he \vas pictured in the first illustrations to the 
Doyle stories is a big asset. It is coupled with a 
real understanding of the author's methods of 
narration on the part of Leslie Hiscott, the 

The story is that Holmes, on the verge of 
retirement, receives a visit from Dr. Moriarty, 
the super crook, who warns him that he will 
"come back" at his peril. Later Holmes is 
asked to investigate the murder of John Doug- 
las, a wealthy Anglo-American, at a lonely 
country house. An anonymous message warns 
him that Moriarty is involved. 

The murder was done with a shotgun, the 
face destroyed. Mrs. Douglas explains the mo- 
tive by telling how her husband had delivered 
to the police the members of "The Scourers," 
aji American secret society, and that he had 
feared their vengeance. Holmes, piecing to- 
gether such trivial clues as the disappearance 
of one of a pair of dumbbells and the length 
of a burned candle, deduces that Douglas is 
not dead and that the real victim is the would- 
be assassin. He discovers Douglas hiding in an 
old tower. Moriarty, who has planned the 
crime, comes to carry away the murderer, is 
trapped and falls to his death from the tower. 

It is safe to promise that the character and 
story are visualized exactly as Conan Doyle 
conceived them. — Allan, London. • 

Produced by Real Art Productions at Twickenham 
and distributed by Gaumont-British. Based on Sir 
Arthur Conan Doyle's "The Valley of Fear." Adapta- 
tion by H. Fowler Mear and Cyril Twyford. Camera, 
William Lufif. Sound, Leo Wilkins. Running time, 
87 minutes. "A." 


Sherlock Holmes Arthur Wontner 

Dr. Watson Ian Fleming 

Professor Moriarty Lyn Harding 

John Douglas Leslie Ferrins 

Ettie Douglas Jane Carr 

Inspector Lestrade Charles Mortimer 

Mrs. Hudson Minnie Rayner 

Cecil Barker Michael Shepley 

Ted Balding Ben Welden 

Boss McGinty Roy Emerton 

Ames Conway Dixon 

Col. Sebastian Moran Wilfred Caithness 

Captain Marvin Edmund D'Alby 

Jacob Schafter Ernest Lynds 

Northern Frontier 

Action Story 

Partaking of the nature of the western fea- 
ture, this moderately entertaining action yarn 
moves from the western plains and mountains 
into the country of the Northwest Mounted 
Police. The film features Kermit Maynard, 
brother of the redoubtable and popular Ken 
Maynard. Hardly a more expert actor, but 
definitely better looking, Kermit injects some- 
thing of his trick riding ability into the picture, 
which is from a James Oliver Curwood story. 

Against a background of efl^ectively rugged 
scenery the action — and romance — take place, 
with a few slow spots compensated by plenty 
of fast-moving action. The pace, on the whole, 
is maintained at a rapid tempo. 

Name value is stronger in support than usual, 
but the lead name is not outstanding. How- 
ever, Kermit Maynard looks like a good action 
name to build up. The support includes Eleanor 
Hunt, in the feminine lead; J. Farrell Mac- 
donald and Russell Hopton. 

Maynard, Mounted Police officer, is ordered 
by his chief to track down a group of counter- 
feiters working their territory. He goes to work, 
efl^ectively, bringing in two men, and then, 
learning an important secret, joins the coun- 
terfeit gang as one of them. He learns that the 
father of Miss Hunt, whom Maynard loves, is 
the former engraver doing the counterfeiting, 
being forced into the work by the gang leader 
who holds something over him. 

When he follows one of the gang into town 
from the hideout and is in danger he is saved 
by another member. With chases, scrapping 
and stunting by Maynard, the film moves 
rapidly, until the gang is captured. Maynard's 
rescuer reveals himself as a member of the 
United States Secret Service, and Miss Hunt, 
with her father freed and discovered to be inno- 
cent, accepts her sentence of life — with May- 

Action material, it should be found satisfac- 
tory in the weekend position.— Aaronson, New 

Produced and distributed by Ambassador Pictures. 
Suggested by James Oliver Curwood's story, "Four 
Minutes Late." Directed by Sam Neufield. Screen 
play by Barry Barringer. Film editor. Jack English. 
Sound engineer, Hans Weeren. Supervised by Sig. 
Neufield. Photographed by Edgar Lyons. Running 
time, 57 minutes. Release date, Feb. 1, 1935. General 
audience classification. 


MacKenzie Kermit Maynard 

Beth Braden Eleanor Hunt 

Duke Milford Russell Hopton 

Inspector Stevens J. Farrell Macdonald 

Bull Stone Roy Mason 

Sam Keene Ben Hendricks, Jr. 

Mae Gertrude Aster 

Braden Lloyd Ingraham 

Mike Kernan Cripps 

Pete Dick Curtis 

Durkin Jack Chisholm 

Slink Garu Artie Artego 

Mountie Charles King 

Cook Walter Brennan 

While the Patient Slept 

(First National) 

There should be a strong selling point in the 
fact that this murder mystery is adapted for 
the screen from the novel of the same title by 
Mignon G. Eberhart, one of the most popular 
of today's mystery story writers. There can 
be no doubt that this story has received the 
avid attention of many potential patrons. 

It must be said that, although the mystery 
is really quite mysterious, with its several sus- 
pects, its plentiful motives and opportunities 
for the crimes, there is almost too much comedy. 
Those who like their mystery films unadulter- 
ated with humor, may be unappreciative of so 
much comedy. On the other hand, many may 
be more apt to attend if they are told there are 
numerous laughs to go with the mystery. The 
exhibitor must decide which is the best tack 
to take. 

There are three outstanding comedy names 

March 9, 1935 



to be sold, Guy Kibbee and Aline MacMahon, 
who have gained an increasing popularity as 
comedy team, and Allen Jenkins, always de- 
pendable where laughs are wanted. Kibbee as 
the detective and Miss McMahon as the trained 
nurse who finds herself in the midst of crime 
and illness, and assists old friend Kibbee in 
solving his mystery, are the concentration cen- 
ters of the story, with Jenkins as the stupid 
and noisy detective assistant of Kibbee con- 
tributing largely and hectically to proceedings. 

Nurse MacMahon is called to the home of the 
wealthy Walter Walker when he falls ill, sur- 
rounded by his avaricious relatives. There is 
all the tried and true atmospheric material in 
the howling rain storm, the large dog chained 
in the yard and barking at the approach of 
strangers, the large and gloomy house and all 
the rest. Robert Barrat, eldest son, steals 
down into the master's bedroom, and is mur- 
dered as he tries to get away with a small 
metal figure of an elephant, taken from the 

Kibbee arrives with Jenkins and goes to 
work. Suspect are all the relatives and servants, 
and as Jenkins rants and tears through the 
house with vim, gusto and no results, Kibbee 
quietly, and humorously, works his way from 
person to person, idea to idea. He thinks he 
has the murderer in his grasp by virtue of the 
clues which have been uncovered for the most 
part by Miss MacMahon, when the suspect is 
killed, strangled with a violin string. All this 
time Kibbee is pressing his apparently long 
standing courtship of Miss MacMahon. 

Eventually, through a ruse, Kibbee uncovers 
the totally unsuspected murderer, and Miss 
MacMahon is about to say yes to Kibbee when 
the still unconscious elderly Mr. Walker sud- 
denly awakens — and asks if anything has hap- 

Mystery with a strong comedy slant, this may 
well be sold with emphasis on both aspects of 
the story and its treatment, and with plenty of 
name-selling. — Aaron son. New York. 

Produced and distributed by First National. Di- 
rector, Ray Enright. Screen play by Robert N. Lee 
and Eugene Solow. Additional dialogue by Brown 
Holmes. Dialogue director. Gene Lewis. Based on 
novel by Mignon G. Eberhart. Pliotography by Ar- 
thur Edeson. Film editor, Owen Marks. Art direc- 
tor, Esdras Hartley. P. C. A. Certificate No. 576. 
Running time, 66 minutes. Release date, March 9, 
1&3S. General audience classification. 


Sarah Keate Aline MacMahon 

Lance O'Leary Guy Kibbee 

Deke Ix)nergan , Lyle Talbot 

March Federie Patricia Elhs 

Jackson Allen Jenkins 

Adolphe Federie Robert Barrat 

Eustace Federie Hobart Cavanaugh 

Mittee Brown Dorothy Tree 

Elihu Dimuck Henry O'Neill 

Dr. Jay Russell Hicks 

Isobel Federie Helen Flint 

Grondal Brandon Hurst 

Muldoon Eddie Shubert 

Richard Federie Waher Walker 

The Lost City 

(Regal Pictures) 
Action Melodrama 

Available to the exhibitor either in the forrn 
of a feature or as a serial, "The Lost City" 
appears to offer the greater probable appeal 
via the serial route, since its makeup is of the 
sort to find best reaction from the youngsters 
and those adults who, not particular as to per- 
formances and the ring of authenticity in situa- 
tions, like their screen fare in the action tempo 
of melodrama. Here is week-end material. 

The novel premise of this independent film 
is a lost city in the jungle heart of Africa, 
atop a magnetic mountain, from which a crazed 
scientist causes devastating electrical disturb- 
ances to hurl disaster into the outside world, 
turns native tribesmen into brainless ^ slaves, 
and does other equally weird maneuvering. 

William Boyd, Kane Richmond, Claudia Dell 
and George Hayes are the best known names. 

Scientists determine something must be done 
to stop the deluge of catastrophic occurrences. 
Richmond, young scientist, through a mag- 
netic device of his own invention, is certain the 
trouble is coming from a location in the cen- 

ter of Africa. He leads an expedition, includ- 
ing his assistant and two other formerly scep- 
tical scientists. 

In Africa they run into trouble at once, find 
the source is as Richmond had guessed, and 
seek the magnetic mountain. They are cap- 
tured by the slaves of Boyd, the master of the 
lost city. His power lies in his influence over 
an aged scientist, whose inventions give him 
his great electrical power. The old man's 
daughter is the means of forcing her father to 
obey Boyd. Boyd, it is discovered, turns natives 
into giant slaves who can only obey his will, 
sees through powerful television what is going 
on anywhere about him, hears what others say, 
and in general does as he pleases by virtue of 
the apparatus at his command. 

Fast and fistic action has its place, as Rich- 
mond and his assistant attempt to escape. The 
two other scientists try to doublecross him by 
making away with the brilliant old man, and 
are captured by the infuriated natives, until 
Richmond succeeds in saving father, daughter 
and self for the benefit of humanity — and ro- 
mance. — Aaronson, New York. 

Distributed by Regal Pictures. Produced by Sher- 
man S. Krellberg for Super-Serial Productions, Inc. 
Directed by Harry Revier. From the story by Zelma 
Carroll, George W. Merrick and Robert Dillon. Screen 
play by Perley Poore Sheehan, Addie Graneman and 
Leon d'Usseau. Running time, 74 minutes. Release 
date, Feb. 14, 1935. General audience classification. 


Zolok William Boyd 

Bruce Gordon Kane Richmond 

Natcha Claudia Dell 

Manyus Josef Swickard 

Butterfield George F. Hayes 

Reynolds Ralph Lewis 

Gorzo William Bletcher 

Jerry Eddie Fetherston 

Andrews Milburn Moranti 

Appolyn Jerry Frank 

Colton William Millman 

School for Girls 


A social drama, centering about the man- 
agement of a reform school for girls, this in- 
dependent film is really entertaining fare, but 
adult material. 

Where lighter moments would seem difiicult 
of inclusion, there have been several injected, 
chiefly through the amusing attempt of an in- 
mate to use long words, always incorrectly. 
Romance is almost secondary to the mainspring 
of the structure — the conditions in the reform 
school, the results of those conditions, and the 
cleansing of this blot upon society. Perhaps by 
reason of the central theme, with discussion now 
and again in the newspapers concerning such 
institutions, the exhibitor may enlist com- 
munity support of one sort or another. 

The cast is good, although not especially 
strong in box office names, including Sidney 
Fox, Paul Kelly, Lois Wilson. As the hard- 
bitten, grafting and cruel superintendent of the 
school, Lucille La Verne is excellent in a highly 
unsympathetic role. The film is an adaptation 
of a novel by Reginald Wright Kauffman, "Our 
Undisciplined Daughters." 

The selling, it would seem, might better con- 
centrate on the reform school theme, at the 
same time not overlooking the romantic aspect. 

Miss Fox, out of work, is befriended by an- 
other girl, meets Russell Hopton, and is led into 
a situation where she is arrested with him, a 
jewelry thief. She is sentenced to three years 
in the reform school, and comes under the 
heavy hand of the merciless head, Miss La 
Verne. The only bright spots in her incarcer- 
ation are the friendliness of her roommates, 
and the constant though mostly unavailing ef- 
forts of the assistant superintendent. Miss Wil- 
son, to lighten the toilsome burden of the in- 

Miss Fox is permitted to cultivate a small 
garden, but for the most part Miss Wilson 
fights against enormous odds. The girls try 
to escape, are caught and subjected to solitary 
confinement. Miss Wilson's digging unearths 
the fact that Miss La Verne is appropriating 
most of the money realized from the produce 

raised by the back-breaking toil of the girls on 
the truck farm. The school is visited by the 
board, including Kelly, wealthy playboy, who 
perceives what is not visible on the surface, and 
incidentally falls in love with Miss Fox. 

He begins quietly, with Miss Wilson's help, 
to hunt out facts and figures concerning the 
operation of the school, and learns enough to 
present his case to the governor, his father's 
friend. Before action can be taken, the girls 
in Miss Fox's dormitory, herself the lone ex- 
ception, attempt another escape. One of them 
has found a gun. They are captured, but when 
Miss La Verne comes to investigate the noise, 
she is killed. Miss Wilson actually did the 
shooting and takes the blame, reforms are 
instituted, and Miss Fox is paroled in the cus- 
tody of Kelly, permanently. — Aaronson, New 

Produced and distributed by Liberty Pictures. Pro- 
ducer, M. H. HolTman. Directed by William Nigh. 
Screen story by Albert De Mond. Suggested by "Our 
Undisciplined Daughters" by Reginald Wright Kauflf- 
man. P. C. A. Certificate No. 219. Running time, 73 
minutes. Release date, March 22, 1935. Adult audi- 
ence classification. 


Annette Sidney Fox 

Gary Waltham Paul Kelly 

Miss Cartwright Lois Wilson 

Miss Keeble Lucille La Verne 

Dorothy Dorothy Lee 

Hazel Toby Wing 

Florence Dorothy Appleby 

Peggy Lona Andre 

Eliott Robbins Russell Hopton 

Nell Davis Barbara Weeks 

Gladys Kathleen Burke 

Dr. Calvin Anna Q. Nilsson 

One Run EInner 


A fairly good comedy as comedies go today, 
but not up to the standard of Buster Keaton's 
previous comedy efforts for Educational. Here 
he is a lonesome gas station operator in the 
middle of the desert, upset by the arrival of 
competition across the road. The two play on 
opposite teams, both with their minds on a girl 
who promises she will go to a dance with the 
one whose team wins. The comedy antics at 
the desert ball game are really entertaining, 
with Keaton's "accidents" and long face respon- 
sible for the humor. — Running time, 19 minutes. 

Off All Things 

( Cartoon Exhibitors ) 

Cartoon Exhibitors, Inc., New York firm, is 
releasing a sequence which it describes, justi- 
fiably, as suitable for tacking on the end of 
the newsreel on the theatre program. It is the 
screen reproduction, with accompanying inci- 
dental music, of paragraphs from the New 
Yorker's column of occasionally amusing com- 
ment on events in the news by Howard Bru- 
baker. The running time is only three to four 
minutes, and the material would seem more 
readily adaptable to the metropolitan audience. 
As part of the newsreel, it would seem a rather 
welcome variation. 

Object Not Matrimony 

Only Fair 

The acknowledged excellent comedy ability 
of the diminutive Ernest Truex of the stage 
and screen is hardly in keeping with the ma- 
terial with which he has to work in this com- 
edy subject, being composed largely of noise 
and slapstick. The best sequence is probably 
Truex's inebriation act. The story has Truex, 
alone at home at his writing, going to hire a 
new cook, wandering into a matrimonial agency 
by mistake and engaging a mountainous girl as 
a cook, he thinks. Her efforts to be romantic, 
his to assert his authority, are the focal points 
of the comedy. Only fair. — Running time, 19 



March 9, 1935 


Committee to Confer with Ros- 
enblatt for Equalized Balance 
on Code Authority, More 
Authority for Local Boards 

Several hundred motion picture exhibi- 
tors returned last weekend from New Or- 
leans and the 15th annual Motion Picture 
Theatre Owners convention after three days 
of discussions of practices and problems of 
the trade held in the open on the Roosevelt 
Hotel convention floor had crystallized into 
the usual set of resolutions of condemnation 
and approbation. 

Lone Action in Code Attack 

The attack was centered on the motion 
picture code and its machinery, and although 
Sol A. Rosenblatt, NRA Compliance Direc- 
tor, made the trip expressly from Washing- 
ton to defend the document and plead for 
tolerance toward its board machinery, the 
delegates voted to proceed for a recon- 
struction of both. This was the one out- 
standing action, after re-election of officers. 

There were 22 resolutions written at this 
1935 convention, about the same as past 
conventions and covering virtually the same 
subjects — the code, trade practices, score 
chai-ges, block booking, music seat taxes, 
insurance, non-theatricals and the like. 

A committee of five, yet to be named, 
will confer with Mr. Rosenblatt to recom- 
mend : 

(1) Reorganization of the Code Authority 
to provide for nnore equitable representa- 
tion of the various industry branches. 

(2) Greater authority for Local Grievance 
Boards, their decisions to beconne imme- 
diately effective and operative until and 
unless revised or modified by the Code 

(3) To Provide for a review by the Code 
Authority of matters or findings of fact 
resulting in decisions by Local Grievance 
and Zoning Boards only when such review 
is necessary to establish or support the 
legality of the board's decision. 

The resolution was presented by Morgan A. 

A 20 per cent cancellation clause in the code, 
instead of the present 10 per cent, was de- 

Producers were complimented for their self- 
regulation of production morals and in the 
same resolution an appeal was made to the 
public to support motion pictures produced 
under the new standard. 

Distributors were attacked for demending pre- 
ferred playing time, and selective contracts were 
denounced as a whole. 

Block booking was endorsed as an industry 

Elimination of premiums through a majority 
vote in each territory was requested. 

A complete divorcement between the sale of 
short subjects, including newsreels, and fea- 
tures, was resolved. 

Complete elimination of score charges was 

Entry of the United States into the Inter- 
national Copyright Union at Berne will be 
opposed unless changes are made in existino- 

copyright laws to protect Americtn exhibitors 
from the deluge of additional licenses which, it 
was said, would follow such entry. A. Julian 
Brylawski presented this resolution. 

On nontheatrical competition, the delegates 
resolved that a standing committee be appointed 
to discourage the practice as indulged in by 
national advertisers. 

Declaring "local problems can best be amic- 
ably disposed of by Local Grievance and Clear- 
ance Boards acting without instructions from 
interested parties unfamiliar or but superficially 
acquainted with local conditions," a resolution 
expressed the delegates' opposition to the re- 
ported practice of attempting to influence board 

Would Set Matinee Close at 6:01 P.M. 

Voted for inclusion in the code was a reso- 
lution declaring that matinees be designated 
as expiring not later than 6:01 p.m., and that it 
would be unfair practice to continue matinee 
admission prices beyond that hour. 

Free radio shows were denounced. 

Family night type of programs were en- 

Independent producers were complimented 
for the caliber of recent product. 

Fire underwriters will be petitioned to re- 
duce premium rates. 

Cooperation with theatre patrons to facili- 
tate individual selection of pictures according 
to the taste and preference of the patron was 

Opposition was expressed to the practice of 
broadcasters permitting large audiences to at- 
tend free broadcasts. 

Members were requested to pledge them- 
selves not to exhibit "sex-hygiene" pictures, 
socalled, because they inspire "hostile legisla- 
tion." Production and distribution of such 
pictures were denounced. 

The motion picture trade press was thanked 
for covering the convention. 

A resolution expressed sympathy for M. E. 
Comerford, vice-president, who is ill. 

Ed Kuykendall, president, was given a vote 
of confidence. 

Voted down were resolutions advocating the 
banning of double featuring unless a majority 
of exhibitors in a territory voted for the policy, 
and barring any code Clearance Board member 
from sitting on a case in which he is interested. 

Denied by Chicago's Jack Miller was a report 
that the convention's discussions about scrap- 
ping the code were merely a screen for trading 
with distributors. 

Agreeing that "essential modifications" of 
the code would be in order, Mr. Rosenblatt de- 
clared at the final session Thursday that it is 
the soundest means yet found to lighten the 
problems of the industry. 

Lashing out at code critics, Mr. Rosenblatt 
said the code had established rights and reme- 
dies, tribunals to regulate practices and afford 
relief from unfair competition, and means for 
relief from overbuying. He said decisions in 
75 per cent of code cases favored exhibitors. 

"Out of 1 ,020 cases tried by Local 
Grievance Boards," Mr. Rosenblatt ex- 
plained, "some 771 complaints brought 
relief to exhibitors. In only 24 per cent 
of the cases, or 237 complaints, was relief 
denied." In only 15 per cent of appeals 
to the Code Authority were the local 
boards reversed. 

"In the fifteen months that the motion pic- 
ture code has been in operation, whatever else 
has happened — and the scroll is long in its list 
of achievements — this one result is of national 
significance. Under a single motion picture 

20 Per Cent Cancellation Asked; 
Block Booking Endorsed; Ros- 
enblatt Says 75 Per Cent of 
Code Rulings Favor Exhibitor 

code, coordinating for the first time in history 
the three essential divisions of the industry — 
the way has been found for constructive action 
for the good of all. . . . 

"Until the code was achieved, there was no 
such thing as relief for clearance and zoning 
problems generally. Now the Clearance and 
Zoning Boards are in operation to pass wholly 
upon those questions. In the first 289 cases 
brought to these boards, relief has been granted 
to 172 exhibitors — 59 per cent of these com- 
plaints filed. Appeals were taken to the Code 
Authority in 78 of these cases. Again the ex- 
hibitor profited ; again the exhibitor gained 
protection that was never thought of and 
could never be had before this code was drawn. 
Eighteen per cent of the appeals heard were 
reversed and sent back to the Zoning Boards ; 
judgment was affirmed in 82 per cent of the 

Exhibitors Critical 

However, generally critical of Mr. Rosen- 
blatt's statement that the Code Authority and 
field boards have acted with complete fairness, 
exhibitor criticism was expressed through 
Morgan A. Walsh, code committee chairman, 
and Jack Miller. 

"Harry M. Warner, Nicholas M. Schenck 
and Merlin H. Aylesworth asked for and got 
places on the Code Authority, but they never 
attended a single meeting beyond the first," 
Mr. Walsh charged. 

Mr. Miller told the exhibitors, "You'll co- 
operate and cooperate until producers and dis- 
tributors own all of your theatres. I say let's 
go to Washington again. If we can't get some- 
thing real, let's throw our end of the code 

Robert B. Wilby, of Valatenga Theatres, in 
the south, declared, "I don't want the code 
either. I don't want rain on Saturday any 
more than I do the code, and if you can reso- 
lute that for me, I'd like it." 

"Creation of a gigantic judicial system in 
eight months is impossible," said Louis Nizer, 
of the New York Film Board of Trade, in 
urging exhibitors to be tolerant. 

L. W. Robert, Jr., assistant secretary of the 
United States Treasury, said that, barring new 
action by Congress, the present ten per cent 
federal tax on tickets will expire July 1, re- 
storing the old ticket tax exemption to ad- 
missions under $3. 

Carriers Organize Fight 

Ninety per cent of all film deliveries are 
being handled for theatres by members of the 
National Film Carrier, Inc., delegates heard 
from James P. Clark, Philadelphia, president. 
The carriers elected a legislative committee of 
five to fight state bills. On this committee are 
Mr. Clark, George Callahan, Pittsburgh; L. 
C. Gross, Cleveland ; Harold Robinson, De- 
troit; John Vickers, Charlotte. 

Delegates from San Francisco, St. Louis, 
Oklahoma City and Cincinnati petitioned the 
MPTOA for the 1936 convention. 

Harry Thomas and the "March of Time" ar- 
ranged for a special broadcast from New 
York during the banquet on Thursday. 

A change in the MPTOA executive personnel 
structure was ordered by the convention. Here- 
after the units in the field will select the execu- 
tive committee, naming a member from each 
zone in a mail vote. 



of 40' 


Jane Darwell • Slim Summerville 

Produced by So\ M. Sffurtttl 
Directed by George Marshall 
Susg*$t*d by the book by 
Wahcr B. PHicin 

March 9 , 1935 





October Term, 1934 
No. 254. 

Paramount Publix Corpora- i On Writ of Certiorari 

tion, to the United States 

Petitioner. [ Circuit Court of Ap- 
vs. [ peals for the Second 

American Tri-l£rgon Corpo- [ Circuit. 

ration. I 

(March 4, 1934) 
Mr. Justice Stone delivered the opinion of the Court. 

In this case certiorari was granted, 293 U. S. — , to 
review a decree of the Court of Appeals for the 
Second Circuit, 71 F. (2d) 153, which held vaUd and 
infringed the process patent of Vogt and others, No. 
1,825,598, of September 29, 1931, "for producing com- 
bined sound and picture films." It reversed the dis- 
district court, which had held the patent invalid for 
anticipation and want of invention. 4 F. Supp. 462. 
The several claims involved relate to a method of 
producing a single photographic film by printing upon 
it a picture record and a sound record from separately 
exposed and developed negatives. The positive film 
thus produced is useful and extensively used in repro- 
ducing sound and picture records in the exhibition of 
"talking moving pictures." 

The respondent, who was the plaintiff below, is a 
patent holding company, and acquired the patent by 
assignment. The petitioner, who was the defendant 
below, is a producer of motion pictures, and the 
defense of the present suit has been conducted on its 
behalf by the Electrical Research Products, Inc., a 
subsidiary of the Western Electric Company. 

Procedure and Mechanisms 

In order that the precise nature of the claims may 
be understood, it will be necessary first to describe 
briefly the procedure and the mechanisrns ernployed 
in recording and reproducing talking motion pictures, 
although neither is embraced in the claims of the 
patent. Several methods have been devised for 
recording sound and reproducing it in connection with 
the exhibition of motion pictures. A familiar one is 
the disc system, by which the sound vibrations are 
mechanically recorded upon and reproduced from discs 
by a stylus, which receives the sound vibrations for 
recording and transmits them from the disc to a loud 
speaker in reproducing the sound. 

Another method, important here, is the photographic 
film system, in which the sound vibrations are re- 
corded upon a photographic record. In the typical 
procedure, used by the petitioner, the sound waves to 
be recorded are received by a microphone so devised 
as to produce variable electric currents whose vari- 
ations correspond to the variations in the sound waves 
received. The electric currents thus produced are 
amplified and transmitted to two metal threads, 
arranged side by side so as to form a narrow slit 
about I'VXXl of an inch in width, called a light valve. 
The current produces vibration of the metal threads 
with consequent variation of the hght passing through 
the valve exactly corresponding to the sound vibra- 
tions to be recorded. In recording sound, a moving 
sensitized photographic film is exposed to a beam of 
light passed through the vibrating light valve which 
is activated by the electric currents varying according 
to the sound vibrations. The exposed film is then 
developed and the "sound record" thus produced is 
printed 'rom it upon a positive film, where it appears 
as a scries of short parallel lines of varying light 
dc-nsity, corresponding to the sound vibrations, wliich 
have controlled in turn the variation in the electric 
current passing to the light valve and the corre- 
sponding variations of Hght passing through it to the 
sensitized film. 

In reproducing the recorded sound the procedure is 
reversed. The positive sound film is passed before 
a light slit, from which the light passes through the 
sound record film to a photoelectric cell, which is 
devised to produce a variable electric current corre- 
sponding to the light variations caused by the moving 
record film. The electric current thus produced is 
amplified and passed to a loud speaker, where it is 
translated into sound vibrations. 

Synchronization Methods 

Successful operation of the talking motion picture 
involves synchronization of the sound and picture 
records. The difficulties of synchronization are obvious 
where the recorded picture and sounds are separately 
reproduced by independent mechanisms. Success has 
been achieved, and convenience in use of the two 
records secured, by uniting them upon a single posi- 
tive film and passing it at the requisite uniform speed 
through a single apparatus designed to reproduce both 
the sound and the picture. A familiar method of 
securing the two records on a single film is by 
photographing simultaneously the picture record and 
the sound record side by side upon the same strip of 
film and then printing from the developed negative a 
single positive film. This method was disclosed 
in the Haines, British Patent, No. 18,057, of 1906; in 
the Ries Patent, U. S. No. 1.473,976, of 1923, applied 
for in 1913; in the French patent to MacCarty, No. 

Paramount Case 

448,757, of 1912; and in the Walker Patent, U. S. No. 
1,186,717, of 1916. Another method is by mechanically 
uniting the two positive records, as by cementing them 
together, after they have been separately printed from 
negative separately exposed and developed. This was 
disclosed by the Bullis Patent, U. S. No. 1,335,651, of 
March 30, 1920, applied for in 1915. A third method, 
which IS that claimed by the patent in suit, is by 
printing the two records on a single ix)sitive film 
from separately exposed and developed negatives. 

In petitioner's practice separate photographic films, 
moving at uniform speed, are separately exposed, so 
as to record a scene and the accompanying sounds, 
and are then separately developed. The two records 
are then printed, side by side, on a single positive 
film, used for reproducing the picture and the sound. 
In the typical reproducing apparatus the film passes 
successively through the picture projector and the 
mechanism for sound reproduction. Accordingly, syn- 
chronization is accomplished by arranging the two 
records on the positive film in such relative positions 
that the two records will simultaneously reach the 
two mechanisms for reproducing them, so that the 
reproduced sound will accompany the reproduced scene 
of the picture as it did when they were recorded. 

Patent Specifications 

The specifications of the patent state broadly that 
it is of great advantage to arrange the sound record 
sequences and the picture record sequences on a single 
film. They then describe the technical difficulties in 
developing the negative when the sound and picture 
records are photographed on a single film. They i>oint 
out that the picture record is made under changing 
light conditions, which may result in over or under 
exposures, which will require correction and a treat- 
ment in the development of the negative different 
from that suitable to the sound sequence, which is 
recorded under different light conditions. It is said 
that it is practically impossible to secure the vari- 
ations in treatment required for developing the two 
types of record where the two sequences, picture and 
sound, are_ photographed upon the same film strip. 
The specifications then describe the invention as 
follows ; 

"According to the present invention the difficulty 
IS overcome by either employing entirely separate 
films for the simultaneous photographing of the sound 
and picture negatives, or films which are connected 
durmg the photographing, but which are separated 
from one another before the developing, then sepa- 
rately developing the negatives if and in the manner 
required to remedy the difficulties, and then printing 
both sequences— picture and sound— on the different 
portions of the same positive film." 

Respondent relies on Claims 5 to 9. inclusive, and 
Claim 11 of the patent, of which it is agreed Claim 5 
IS typical. It reads as follows: 

"A process for producing a combined sound and 
picture positive film, for talking moving pictures, 
comprising photographing a sequence of pictures on 
one length of film, and simultaneously photographing 
on another length of film a corresponding sequence 
of sounds accompanying the action, separately develop- 
mg the two negatives in a manner appropriate for 
each, and printing the sound and picture negatives 
respectively upon different longitudinally extending 
portions of the same sensitized film, to form the sound 
sequences at one side of and along the picture 

Clainn Method or Process 

It will be observed that the claim method or process 
IS lor combining sound and picture records on a single 
film and comprises three steps: first, the simultaneous 
photographing of a picture record and a record of 
the accompanying sound, each on a separate negative- 
second, the separate development of the two negatives 
in a manner appropriate to each; and third, the print- 
ing, either simultaneously or successively, from the 
two negatives of the sound record and the picture 
record side by side on a single positive film 

It IS important to indicate the more significant fea- 
tures of the sound reproduction procedure and 
mechanisms which are not embraced in the claims 
ihe patent does not claim either a method or a 
device for recording or for reproducing sound, or 
a method of synchronizing the two records, or the 
use of a single film in the reproduction of combined 
sound and picture records, or any method or device 
for printing the positive record from the two separate 
negatives. o^h^kiic 

While the claims speak of a process or method for 
producmg; a combined sound and picture positive film. 
It IS obvious that the process described and claimed 
has no necessary connection with sound reproduction. 

The positive film bearing the combined sound and 
picture records is a product of the photographic art. 
The method claimed for producing it relates exciu- 
sivelv to that art. It is neither a method of sound 
recording nor sound reproduction. It claims only a 
process every step in which is an application ':;f the 
art of photography: simultaneous exposure of the 
negatives, their separate development, and printing 
from, them a single positive film. The process is as 
applicable to any other form of photographic record 
as tC' a photographic sound record. It is as effective 
in the production of the one as the other. Its impor- 
tance to the sound picture industry arises cnly from 
the fact that the single film, bearing the two records, 
for which no patent is claimed, is of great utility in 
that industry. 

An examination of the prior art can leave no doubt 
that the method, as thus described and clearly re- 
stricted by the patent, lacks novelty and invention. 
The only step in respondent's method, for which any 
advance could be claimed over earlier methods, is 
the process^ of uniting two records on a single positive 
film by printing them from separate negatives. The 
Bullis Patent, already mentioned, and the Craig 
Patent, U. S. No. 1,289,337, of 1918, had shown the 
simultaneous exposure and separate development oi 
sound and picture films, the advantages of which, as 
well as the advantages of the double record on a 
single film, were well known. The claim to invention 
is thus narrowed to the single contention that the 
patentees secured the benefit of these well known 
advantages by resort to the added step of uniting the 
two separate photographic records, sound and picture, 
by printing them on a single film. 

Practice Long Known 

The practice of printing separate photographs from 
separately developed negatives upon a single positive 
film has long been known to photographers. Standard 
photographic dictionaries, pubhshed here and abroad 
between 1894 and 1912, describe the procedure for 
"combination printing" of a single positive picture 
from separately developed negatives. (*1) The pro- 
cedure is shown to have been followed in the labora- 
tories of the Eastman Kodak Company for many years 
prior to April, 1921, the date claimed for the present 
patent, and before that date the Company had made 
special materials for use in combination printing. 

The practice was also well known in the motion pic- 
ture industry. In 1908 the American Mutoscope & 
Biograph Company made and released in the United 
States a motion picture. The Music Master. This 
picture was prepared by separately photographing 
two scenes. From the separately developed negatives 
a positive was printed, showing the two pictures on 
the same strip of film, from which the motion picture 
was reproduced. The British Downing Patent No. 
6,727, of 1913, discloses methods and apparatus for 
producing motion pictures, accompanied by printed 
words used by the actors, the two records being 
printed on a single positive film from separately 
exposed and developed negatives. The Messter Patent. 
U S. No. 1,286,383, of 1918, and the British Patent, 
No. 21,467. issued to Rossi in 1909, each discloses a 
method of printing two separately exposed picture 
records on a single film. The Craig Patent, already 
mentioned, calls for separate exposure and develop- 
ment of sound and picture negatives, simultaneously 
recorded, and their printing on opposite sides of a 
single film. The Greensfelder Patent, U. S. No. 
1,254,684, of 1918, discloses a method for printing, 
from separately exposed and developed negatives, a 
sound record and a picture record on the same side 
of a single positive film. The function of the sound 
record differed radically from that contemplated by 
respondent's patent, but this is immaterial so far 
as its printing is concerned, in which the (Greensfelder 
patent does not substantially differ from that in suit. 
While these patents did not specifically mention the 
separate development of the negatives of the two 
records, it appears that they were photographed sepa- 
rately upon separate negatives, and the record shows 
that at their dates the state of the art was such as 
to require separate development of the two negatives. 
The practice and advantage of separate development 
are also shown to be well known. This and other 
evidence in the record abundantly supports the finding 

(Continued on page 60) 

(*1) Wilson's Cyclopaedic Photography , published by 
Edivard L. Wilson, New York, 1894; Encyclopaedic 
Dictionary of Photograph.y, by Woodbury, published by 
Scovill cS- Adams Co., New York, 1896; Konig, pub- 
lished by Dawbarn & Ward, Ltd., London, 1906; Cas- 
sell's Cyclopaedia of Photography , by Jones, published 
by Cassell S- Company, Ltd., 1912. (The references, 
with, quoted portions of the te.vts, were made a part of 
the record by stipulation.) The publication last men- 
tioned states that "combination printing had its origin 
in 1855, ivhen Berwick and Annan, of Glasgozv, e.r- 
hibited a picture printed from two different negatives 
— a figure and a landscape :'' numerous later e.vamples 
of the practice are givo^. 

Carl LaemmJe presents 



A Universal Picture with 








March 9 , 19 3 5 


(,Contiimed from page 57) 

of the trial court that as early as 1908 it was common 
practice in the motion picture industry to print, on 
standard positive film, composite pictures from sepa- 
rately developed negatives. 

Not Invention 

The simultaneous photographing of sound and pic- 
ture records was not novel, separate development of 
the negatives was well known, the advantage of 
uniting the two records, sound and picture, on a single 
film was well known, and the method of uniting two 
photographic picture records by printing them from 
the separate negatives was well known. 

This use of an old method to produce an old result 
was not invention. See Electric Cable Co. v. Edison 
Company, 292 U. S. 69, 80, and cases cited. E,ven if 
it be assumed that the Greensfelder patent did not 
anticipate that of respondent, because the sound record 
there mentioned was designed directly to operate 
musical instruments, rather than a loudspeaker, all 
that was novel in the claimed method was its applica- 
tion in the production of a combined sound and picture 
record, instead of a combination . of two picture 
records. To claim the merit of invention the patented 
process must itself possess novelty. The apphcation 
of an old process to a new and closely analogous 
subject matter, plainly indicated by the prior art_ as 
an appropriate subject of the process, is not invention. 
Brown v. Piper, 91 U. S. 37. 41 ; see Pennsylvania 
Railroad Co. v. Locomotive Truck Co., 110 U. S. 490, 
494; Drevfus v. Searle, 124 U. S. 60. 64; Concrete 
Appliances Co. v. Gomery. 269 U. S. 177. 184, 185. 
However wide the differences between the procedures 
and results of sound reproduction from film on the 
one hand, and picture reproduction on the other, the 
method of producing photographic sound and picture 
records and uniting them on the positive film are 
identical, for both sound and picture records, from 
the time of exposure of the negatives until the single 
film is completed. With knowledge of the well under- 
stood advantages of the union of the two records on 
a single film, it required no more than the expected 
skill of the art of photography to use an old method 
of printing photogi'aphically the two negatives upon a 
single positive. 

Against this conclusion respondents throw the 
weight of voluminous evidence, showing the preicticaJ 
utility and widespreaid use of the patented process, 
which prevailed with the court below as sufficient to 
establish invention. It is said that, however simple 
and obvious the method may appear to be now that 
it is in successful use, no one before the patentees had 
used it for producing the union of a sound and a 
picture record. Respondents eJso allege that the posi- 
tive film produced by its method is more useful than 
any it had been possible to produce by other methods, 
and that it has found all but universal acceptance. 
These considerations, it is urged, shoidd turn the 
scale in favor of invention. 

Laying aside the objection that it is only when 
invention is in doubt that advance in the art may 
be thrown in the scale, DeForest Radio Company v. 
General Electric Company, 283 U. S. 664. 685; Smith 
V. Dental Vulcanite Co.., 93 U. S. 486, 495, 496, we 
think the evidence of utility and prompt acceptance of 
the patented method, in the circumstances of this 
case, adds little weight to the claim of invention. 
The greater utility of respondent's film over those 
effecting the union of the two records by other meth- 
ods does not establish the novelty of the method. 
Evidence of great utility of a method or device, it 
is true, may in some circumstances be accepted as 
evidence of invention. Where the method or device 
satisfies an old and recognized want, invention is to 
be inferred, rather than the exercise of mechanical 
skill. For mere skill of the art wotild normally have 
been called into action by the generally known want. 
See Loom Co. v. Higgins. 105 U. S. 580. 591; Krementz 
V. S. Cottle Co., 148 U. S. 556, 560; Hobbs v. Beach, 
180 U. S. 383, 392; Carnegie Steel Co. v. Cambria Iron 
Co., 185 U. S. 403. 429, 430; Expanded Metal Co. v. 
Bradford, 214 U. S. 366, 381. 

Traces Beginning of Sound 

But the state of the motion picture art, as it is 
disclosed by the present record, indicates that there 
was no generally recognized demand for any type of 
film record, for the reproduction of sound to accom- 
pany motion pictures, until after the present patent 
was applied for. See Hollister v. Benedict & Burn- 
ham Mfg. Co., 113 U. S. 59, 73. Compare McClain 
V. Ortmayer, 141 U. S. 419, 428; Grant v. Walter, 148 
U. S. 547, 556. 

Before 1926 motion pictures were silent and there 
was no convincing evidence that the public would 
prefer the sound picture. In that year Warner Broth- 
ers exhibited sound pictures produced by the disc 
system, provided by the Western Electric Company. 
At that time the Company had for some years been 
experimenting with both film and disc systems for 
recording sound, and it had electrically recorded disc 
phonographic records which were in commercial use. 
The addition of sound on disc to motion pictures in- 
volved merely the attachment of the phonographic 
type of turntable to the ordinary motion picture pro- 
jector, without any extensive modification of the 
projector or the film printing machines then in use. 

as was later necessary in order to employ the film 
method. Moreover, as has already been indicated, 
skilfully devised mechanisms were required for suc- 
cessfully recording and reproducing sound by the 
film method, a problem distinct from any method of 
uniting the sound and picture records upon a single 

Until these appliances were perfected there could 
be no pressing and generally recognized demand for 
the sound film. It was not until after the public in- 
terest in sound pictures was disclosed, in the summer 
of 1926, that the mechanism for recording and re- 
producing sound by the film method was carried to 
a state of perfection which would warrant its produc- 
tion in commercial form. The light valve was pro- 
duced in commercial form in December, 1926, and the 
first installations were in 1927. A rival system, of 
the Fox Case Company, for recording and reproduc- 
ing sound by film, was not brought to completion 
until after 1926. Other problems engaging the atten- 
tion of experimenters in this field were the necessary 
improvement of the photo-electric cell, the devising 
of suitable emulsion for sound negatives, of appara- 
tus for "mixing" the sound to be recorded, and the 
mechanical perfection of the apparatus for reproducing 
sound from film. See Nos. 255, 256, Altoona Publix 
Theatres. Inc., et al. v. American Tri- Ergon Holding 
A. G., decided this day. 

Thus there is no basis shown by this record for 
the contention that advance in this phase of the 
motion picture industry was awaiting the development 
of the combined sound and picture record upon a 
single positive film. On the contrary, the inference 
seems plain that the advance awaited the pubhc ac- 
ceptance of the sound motion picture; that when the 
public demand became manifest it was still necessary 
to develop suitable mechanisms, not embraced in the 
patent, for the reproduction of sound from film. There 
had long been, ready at hand, knowledge in the 

photographic art which would enable one skilled in 
the art to produce the film suitable for use in the 
new apparatus. Indeed, at some time before 1924, 
Wente, engaged in research on sound film apparatus 
for the Western Electric Company, vrithout any 
knowledge of the work of the patentees of the pres- 
ent patent, had prepared the combined sound and 
picture positive film by printing it from separate 
negatives, sepcirately exposed and developed. 

The bare fact that several inventors, in the early 
stages of sound reproduction, working independently, 
of whose knowledge and skill in the photographic art 
we know little or nothing, failed to resort to a method, 
well known to that art, for printing a combination 
film for which there was then no generally recognized 
need, does not give rise to the inference of invention. 

The court below also rested its decision on the 
ground that the petitioner is estopped to deny the 
validity of the patent by the application of Wente, 
April 8, 1924, who was in the employ of the Western 
Electric Company, for a patent for an improvement 
in recording and printing the sound record film, which 
contained claims broad enough to include the method 
claimed by respondent. These claims were rejected 
by the Patent Office as reading on the British Patent 
178,442 of the present patentees, and the Greensfelder 
patent, already mentioned. However inconsistent this 
early attempt to procure a patent may be with peti- 
tioner's present contention of its invalidity for want 
of invention, this Court has long recognized that such 
inconsistency affords no basis for an estoppel, nor 
precludes the court from relieving the alleged infringer 
and the pubhc from the asserted monopoly when 
there is no invention. Haughey v. Lee, 151 U. S. 
282. 285. 


Mr. Justice Brandeis took no part in the considera- 
tion or decision of this case. 

Wilmer & Vincent, Altoona Coses 

October Term, 1934. 
Nos. 255 and 256. 

Altoona Publix Theatres, Inc., 

American Tri-Ergon Corpo- 
ration and Tri-Ergon Hold- 
ing, A. G. 

On Writ of Certiorari 
to the United States 
Circuit Court of Ap- 
peals for the Third 

Wilmer & Vincent Corpora- 
tion and Locust Street Real 
Estate Company. 



American Tri-Ergon Corpo- 
ration and Tri-Ergon Hold- 
ing, A. G. 

(March 4, 1935.) 
Mr. Justice Stone delivered the opinion of the Court. 

These cases come here on certiorari, 293 U. S. ■ — , 
to review a decree of the Court of Aopeals for the 
Third Circuit, 72 F. (2d) S3, which affirmed a decree 
of the district court, 5 F. Supp. 32, holding valid and 
infringed the patent of Vogt and others. No. 1,713,726, 
of May 21, 1929, applied for March 20, 1922, for a 
"device for phonographs with linear phonogram car- 
riers." 'The two cases were tried together and have 
been brought here on a single record. 

Petitioners, the defendants below, are operators of 
motion picture theatres whose sound reproduction 
machines are said to infringe certain claims of the 
patent in suit. The Radio Corporation of America 
is defending both cases on behalf of its subsidiary, 
R. C. A. Photophone, Inc., which supplied the peti- 
tioners' machines. Respondent, the plaintiff below, is 
a patent holding company and owner of the patent. 

Seven Claims in Issue 

Of the nineteen claims of the patent, seven are in 
issue. Five of them, numbered 5, 7, 17, 18 and 19, 
relate to a device for securing uniformity of speed 
in machines used for recording and reproducing talk- 
ing motion pictures, and are referred to as the "fly- 
wheel claims." They may conveniently be considered 
separately from Claims 9 and 13 which present the 
flywheel claims in a different aspect. Claim 9, as 
originally allowed, was for the accurate flexing of the 
film record; Claim 13 similarly was for a combina- 
tion for a means for projecting a narrow line of light 
upon and through the moving film to a photoelectric 
cell in sound reproduction. A disclaimer, filed by re- 
spondent shortly before the trial, _ purports, in varying 
terms, to add the flywheel device to each of these 

While both courts below have found invention and 
sustained the patent, the Court of Appeals, as will 
presently appear in more detail, did not pass on the 
separate claims in issue, but found invention in a 
combination of elements not embraced in any single 
claim. In consequence, the case presents no question 

of concurrent findings by the courts below that the 
claims in issue severally involve invention, see Con- 
crete Appliances Co. v. Gomery, 269 U. S. 117, 180. 
The Flywheel Claims. 
"Phonograms," or sound records, for the recorda- 
tion and reproduction of sound, are of several types. 
They include discs or cylinders to which, and from 
which, sound vibrations are transmitted mechanically 
by a stylus in the course of recording, and reproduc- 
ing, sound. Long strips of waxed paper carrying 
sound record grooves, similarly made, are used. Othei' 
types are long strips of film on which sound is photo- 
graphically recorded, and long steel wires on which 
sound variations have been magnetically recorded. 
The claims relate to an improvement in mechanisms 
for recording and reproducing sound by the use of 
linear photographic record carriers. The typical pro- 
cedure in recording and reproducing sound by the use 
of phonographic film strips is described in No. 254, 
Paramount Publix Corporation v. American Tri-Ergon 
Corporation, decided this day. and need not be re- 
peated here. 

Both in recording and reproducing sound, by any 
form of record, uniform sped in the movement of the 
phonogram is of the highest importance, in order to 
secure evenness and regularity in the reproduced 
sound. The specifications state: 

"The recording and the reproduction of sound waves 
by the use of linear phonogram carriers such as film 
strips, steel wires, and so forth, can only be effected 
in absolutely satisfactory manner, even after the 
removal of all other occurring difficulties, when the 
speed of the record carrier is uniform both for the 
receiving and the reproduction, and when in both 
cases no variations of any kind occur. Especially in 
the case of musical reproductions is the record ex- 
tremely sensitive to the slightest variations of speed." 

Irregularities of Movement 

They also point out that linear phonograms such 
as the photographic film, because of their lightness 
and their want of the momentum afforded by a re- 
volving cylinder or disc record, are peculiarly sus- 
ceptible to irregularities of movement caused by the 
play or friction in the projections and connections of 
the many parts of the propelling apparatus, and de- 
clare that: 

"According to the present invention, this draw-back 
which attaches to all hitherto known propulsion 
mechanisms for linear phonogram records, is obviated 
by the arrangement, that the light sound record has 
giveii to it at the controlling point the property of 
a weighty mass. This is attained by the arrangement 
that the record carrier (a film strip or the like) is 
firmly pressed against one or more rollers connect- 
ing with a heavy rotating mass, so that the record 
moves in exact conformity with the rollers and the 
rotating mass." 

The references to a "weighty mass" or "a heavy 
rotating mass" used to secure uniformity of motion 
are to the familiar flywheel. The specified "property" 

March 9 , 1935 




of a rotating heavy mass is inertia, the tendency of 
matter in motion to continue in motion, the force 
of which is increased by the mass of the moving 
body. It is the property which gives to the flywheel 
its pecuhar efficacy in securing uniformity of speed 
in mechanisms with which it is associated. 

The first three flywheel claims. 5. 7 and 17, are 
apparatus claims. The others, 18 and 19, are, in 
foim, method claims, defining the method of secur- 
ing uniformity in movement of the record film by 
apparatus defined by Claims 5 and 17. Claim 5 reads 
as follows: 

"In phonographic apparatus in which the sound 
record is formed on an elongated ribbon of incon- 
siderable mass, having feeding perforations therein, 
the combination of (a) means for supporting and 
progressing the record ribbon from one point to an- 
other point and past an intermediate point at which 
the record is made on the ribbon in recording or from 
which the record is taken from the ribbon in repro- 
ducing, including (1) a toothed cylinder over a por- 
tion of which the ribbon passes adjacent to said in- 
termediate point, the teeth of said cylinder engaging 
the perforations of the ribbon. (2) a fly-wheel asso- 
ciated with said cylinder, and (3) means for rotating 
said cylinder, under control of said fly-wheel at uni- 
form speed." 

Other Claims Compared 

Claim 17 is substantially the same as Claim S. the 
principal difference being that it uses the word "cyl- 
inder" instead of "toothed cylinder." 

Claim 7 adds to the essentials of Claim 5, "a re- 
silient connection between said driving member (the 
shaft) and fly wheel, and stop means for limiting the 
amount of yielding of said resilient comiection." This 
so-called flexible or elastic flywheel connection, de- 
signed to overcome more gradually the inertia of 
the flywheel, and thus to secure an improved flywheel 
operation, was anticipated, among others, by the 
Constable Patent, U. S. No. 1,425,177, of August 8, 
1922. appUed for June 24. 1918, as the district court 
found. Its inclusion in Claim 7 may therefore be 
disregarded as adding nothing more to the present 
patent than the flywheel without it. 

There is no serious contention, nor could there well 
be, that the combination apparatus, for moving the 
linear record past the translation point at which the 
sound is recorded or reproduced, involves invention 
without the flywheel. Mechanisms for moving linear 
strips, or ribbons, by passing the strip over a revolv- 
ing drum or cylinder, are a familiar type in the arts. 
They have long been used in the motion picture in- 
dustry when it was desired to employ the linear 
strips at an intermediate point for sound and picture 
reproduction, and the like. Such a mechanism, for 
moving a picture film past the translation point in a 
motion picture projector, is shown by the Hoist 
Patent, U. S. No. 587,527, of 1897. A like mechanism 
for recording or producing sound, or both, by the use 
of linear photographic records, is shown in the British 
Duddel Patent, No. 24.546, of 1902, and the Reis Pat- 
ent, U. S. No. 1,607,480, of 1923, filed May 21, 1913. 
Still other mechanisms, like two of the figures at- 
tached to the specifications of the patent in suit, show 
the translation point at the film-carrying cylinder. 
Examples are the patents of Bock, U. S. No. 364,472, 
of 1887; Byron, U. S. No. 1,185,056, of 1916; and Peder- 
sen, British Patent No. 115,942, of 1918. The gist of 
respondent's contention, as is shown by the clairns 
and the parts of the specifications already quoted, is 
that by the addition of the flywheel to this familiar 
mechanism the patentees have succeeded in producing 
a new type of machine for recording and reprodticing 
sound by the photographic film method. It is insisted 
that the new device, because of its greater accuracy 
and precision of film movement, is so useful and con- 
stitutes such an advance in the sound motion pictiire 
art as to entitle it to the rank of a patentable in- 

The flywheel set upon a revolving sheift is an an- 
cient mechanical device for securing continuity and 
uniformity of motion when brought into association 
with euiy form of machinery moved by intermittent 
force or meeting with irreguleir or intermittent re- 
sistance.(*) So universal is its use for that purpose 
in every type of machinery that standard treatises 
on mechanics, long before the application for the pres- 
ent patent, gave the mathematical formulae, for ascer- 
taining the appropriate weight and dimensions of a 
flywheel, moving at a given speed, required to over- 
come known variations in force resistance, and pre- 
scribed the standard procedure for locating the fly- 
wheel in cis direct association as possible with that 
part of the mechanism at which the intermittent re- 
sistance occurs. See article. Mechanics, Sec. 121, 
Encyclopaedia BritannicEi, Eleventh Edition, 1911; 
Angus, Theory of Machines, pp. 261-272, 1917. 

The specifications of the patent recognize that disc 
and cylinder records themselves operate as flywheels 
and proceed to show how a want of a similar control 
may be supplied, in mechanisms used for motion pic- 
ture film records, by the addition of the flywheel. 

(*) The addition of the flywheel to the steam en- 
gine, in 1758, was said to be "a very important addi- 
tion to the engine, and though sufficiently obvious, it 
is ingenious and requires considerable skill and address 
te make it effective." Robinson, Mechanical Philosophy, 
Vol. 2, p. 105, 1822. 

Kut this was specifically taught by the prior art for 
the reproduction of sound both from phonographic 
and film records. There are in evidence two Edison 
commercial recording machines with cylindrical rec- 
ords, which were used at the Edison Recording Lab- 
oratory in New York before 1921. Each has a heavy 
flywheel mounted directly on the shaft of the record- 
carrying cylinder. These flywheels produce a high 
degree of '*speed Constance." An application for a 
patent by Edison in 1879 on a claim for a combination 
"with the phonograph cylinder and its shaft, of a fly- 
wheel" w'as rejected by the examiner April 7, 1879, 
as covering the "use of a fly wheel as ordinarily used 
with machinery for the purpose of securing uniformity 
of motion." Upon reconsideration, the claim was again 
rejected on the ground that the adaptation of the 
flywheel required only the exercise of "ordinary good 
judgment" and not the inventive faculty. 

Other Patents Cited 

The Underbill Patent, U. S. No. 995,390, of 1911, 
exhibits a phonograph machine with a flywheel to 
secure uniformity of motion of the record. The spe- 
cifications state that the flywheel is used for that 
pui-pose. The patent of Alexander Graham Bell and 
others (Bell & Tainter), U. S. No. 341,213, of 1886, 
discloses a mechanism for recording sound on a 
photographic plate rotated at uniform speed under 
the control of a flywheel. Another patent of the 
same inventors, U. S. No. 341,214, of 1886, discloses a 
flywheel used in association with a mechanism for 
moing a linear, waxcoated phonograph record at uni- 
form speed for recording and reproducing speech and 
other sounds. That the record used was not photo- 
graphic is unimportant. The problem of securing uni- 
formity of motion of the record is the same for either 
type of linear sound record, as the present patent 
itself establishes, by classing together all types of 
linear records as exhibiting the "problem" to which 
the patent is directed. The French Dragoumis Patent, 
No. 472,467, of 1914, shows a film record moved by a 
cylinder turning on a shaft carrying a large wheel, 
obviously acting as a flywheel, though not described 
as such. See American Road Machine Co. v. Pen- 
nock & Sharp Co., 164 U. S. 26, 38. The flywheel was 
mounted on the shaft of the record-carrying cylinder 
at the translation point. Finally, the British Peder- 
sen Patent, already referred to, shows a photographic 
sound record carried by a cylinder as it passes the 
translation point. His specifications, after pointing out 
that sound is "exceedingly sensitive to variation in 
rotating speed," and that it is necessary to obviate 
this during the recording and reproducing operations, 
state that this may be done "by providing particu- 
larly large flywheels." 

There are numerous patents showing the like use 
of the flywheel in apparatus for reproducing motion 
pictures from film. That of Hoist, already noted, 
shows in detail an apparatus exhibiting every element 
of Claim 5, except that its use is for reproducing mo- 
tion pictures instead of sound from, film. The toothed 
cylinder is located adjacent to the intermediate point, 
which is the point of translation. The flywheel is 
associated with the cylinder by being attached to 
the rotary shcift carrying the cylinder. 

An improvement to an apparatus or method, to be 
patentable, must be the result of invention, and not 
the mere exercise of the skill of the calling or an 
advance plainly indicated by the prior art. Electric 
Cable Joint Co. v. Brooklyn Edison Co., 292 U. S. 69, 
79, 80. The inclusion of a flywheel in any form of 
mechanism to secure uniformity of its motion has so 
long been standard procedure in the field of mechanic 
and machine design that the use of it in the manner 
claimed by the present patent involved no more than 
the skill of the calling. See American Road Machine 
Co. v. Pennock & Sharp Co., supra, 41. Patents for 
devices for use both in the motion picture art and 
in the art of sound reproduction, notably the Hoist, 
the Bell & Tainter, the Dragoumis patents^ and the 
Edison application, already noted, plainly foreshadowed 
the use made of the flywheel in the present patent, 
if they did not anticipate it. The patentees brought 
together old elements, in a mechanism involving no 
new principle, to produce an old result, greater uni- 
formity of motion. However skilfully this was done, 
and even though there was produced a machine of 
greater precision and a higher degree of motion- 
constancy, and hence one more useful in the art, it 
was still the product of skill, not of invention. Hailes 
V. Van Wormer, 20 Wall. 353, 368; Grinnell Washing 
Machine Co. v. Johnson Co.. 247 U. S. 426, 432-434; 
Powers-Kennedy Contracting Corp. v. Concrete Mixing 
& Conveying Co., 282 U. S. 175, 186. Its application 
in recording sound or reproducing it, by use of a 
particular type of linear record, the photographic, 
analogous so far as the problem of uniformity of 
motioti was concerned to other types used by Bell 
& Tainter and Dragoumis, was not invention. See 
Paramount Publix Corporation v. American Tri-Ergon 
Corporation, supra. 

Teaching of the Art 

There is some suggestion in respondent's brief and 
argument that the location of the flywheel adjacent 
to the toothed cylinder is an element in the invention 
which contributed to the success of the mechanism. 
But as has already been indicated, such location is 

but the teaching of the art. In any tho claims 
call only for the flywheel located upon the shaft or 
in association with the cylinder. No particular loca- 
tion is mentioned. 

The Court of Appeals, in upholding the patent, made 
no examination of its separate claims, but treated 
the patent throughout as though it were a combina- 
tion of five distinct elements, the photoelectric cell, 
the accurate flexing of the fihn, the flywheel, the 
flexible connection of the flywheel and the optical slit, 
although nowhere in the patent is any such combina- 
tion claimed. The patent thus upheld is one which 
was neither claimed nor granted. Under the statute 
it is the claims of the patent which define the inven- 
tion. See White v. Dunbar, 119 U. S. 47, 51, 52; 
McClain v. Ortmayer, 141 U. S. 419, 423-425; The 
Paper Bag Patent Case, 210 U. S. 405, 419; Smith v. 
Snow, decided January 7. 1935. And each claim must 
stand or fall, as itself sufficiently defining invention, 
independently of the others. See Carlton v. Bokee, 
17 Wall. 463 , 472; Russell v. Place, 94 U. S. 606, 609; 
Leeds & Catlin Co. v. Victor Talking Machine Co., 
213 U. S. 301, 319; Symington Co. v. National Malle- 
able Castings Co., 250 U. S. 383 , 385; Smith v. Snow, 
supra; Walker on Patents, Sec. 220, 6th Ed. As none 
of the flywheel claims as drawn define an invention, 
none can be aided by reading into it parts of the spe- 
cifications, or of other claims, which the patentees 
failed to include in it. 

The court below, attributing the rapid development 
of the sound motion picture industry to the invention 
in the patent in suit, thought as respondent earnestly 
argues here, that its utility and commercial success 
must be accepted as convincing evidence of invention. 
But we think that want of invention would have to 
be far more doubtful than it is to be aided by evidence 
of commerciej success, indicating that it brought 
realization of a long-felt want. Smith v. Dental Vul- 
canite Co., 93 U. S. 486, 495, 496; Grant v. Walter, 
14« U. S. 547; 556; DeForest Radio Co. v. General 
Electric Co., 283 U. S. 664, 685; compare McCIain v. 
Ortmayer, supra, 428. Moreover, the record fails to 
show that there was any long-felt or generally recog- 
nized want in the motion picture industry for the 
device defined by the flywheel claims, or that the 
use of sound motion pictures was delayed by the 
inability of those skilled in the art to add a flywheel 
to the apparatus in order to give the desired uni- 
formity of motion to linear phonograms. See Para- 
mount Publix Corporation v. American Tri-Ergon 
Corporation, supra. There was no public demand for 
sound motion pictures before 1926, when the disc sys- 
tem of the Western Electric Company was first pub- 
licly used in conjunction with moving pictures. Before 
change ^ to the photographic film system could be 
accomplished, it was necessary to await the develop- 
ment of numerous electrical devices not embraced in 
the present claims. Among them were adequate am- 
plifiers, loud speakers and microphones. Progress in 
the perfection of these appliances was achieved rap- 
idly, after the public acceptance of the sound picture 
in 1926, through the efforts of many independent 
workers in the field. When the need arose for a 
mechanism suitable to move film records with such 
speed-constancy as to reproduce the sound success- 
fully, it was forthcoming. Only the skill of the art 
was required to adapt the flywheel device to famiHar 
types of mechanism to secure the desired result. 

Claims 9 and 13 

The court below made no reference to the contention 
of petitioner, tu-ged here and below, that the patent 
was rendered invalid by the disclaimer filed shortly 
before the trial of the present suit. The patent as 
issued contained the following claims: 

"9. The method of translating sound or similar 
vibrations to or from a film record by the use of 
light varied in accordance with the sound, which com- 
prises flexing the film accurately longitudinally at the 
point of translation and rapidly and uniformly moving 
the film in a circumferential direction past said point." 

"13. An apparatus for reproducing speech, music 
or the like sounds from vibrations recorded on a 
film, by the use of a line of light varied in accordance 
with the sound, comprising a photo-electric cell, means 
for imparting to the film a rapid and uniform motion 
longitudinally of the film past said cell, a source of 
light projection for providing said light, and an objec- 
tive lens in the path of said light and spaced from 
the film for directing said light as a converging nar- 
row line impinging on the film at a point in the 
region of the focal point of said lens, said light pass- 
ing through the film and on to said cell, the space 
between said lens and the film being free of obstruc- 
tions to said light," 

In 1933 respondents, by appropriate procedure, dis- 

"(b) The method as set forth in claim 9, except 
wherein the uniformity of movement of the film past 
the translation point is effected by the subjecting 
the portion of the film passing said point to the 
control of the inertia of a rotating weighty mass. 

"(c) The combination as set forth in claim 13, ex- 
cept wherein a flywheel is operatively connected with 
the film through means which imparts uniformity of 
motion of the flywheel to the film. While the effect 
of the disclamer, if valid, was in one sense to narrow 
the claims, so as to cover the combinations originally 
appearmg in Claims 9 and 13 only when used in con- 
junction with a flywheel, it also operated to add the 
flywheel as a new element to each of the combina- 
(Continiied on page 64) 



March 9, 1935 


{Coutinucd from page 61) 

tions described in the claims. The disclaimer is 
authorized bv R. S. sec. 4917, which provides that 
when "through inadvertence, accident, or mistake . . . 
a patentee has claimed more than that of which he 
was the . . . inventor ... his patent shall be valid 
for all that part which is truly and justly his own," 
provided that he or his assigns "made disclaimer of 
such parts of the thing patented as he shall not choose 
to claim . . . stating therein the extent of his interest 
in such patent." While this statute affords a wide 
scope for relinquishment by the patentee of part of 
the patent mistakenly claimed, where the effect is 
to restrict or curtail the monopoly of the patent, (*) it 
does not permit the addition of a new element to the 
combination previously claimed, whereby the patent 
originally for one combination is transferred into a 
new and different one for the new combination. 
If a change such as the present could validly be made, 
it could only be under the provisions of the re-issue 
statute, R. S. sec. 4916, which authorizes the altera- 
tion of the original invention in a reissued patent, 
upon surrender of the old patent, for its unexpired 
term. Upon the reissue "the specifications and claim 
in every such case shall be subject to revision and 
restriction in the same manner or original applica- 
tions are." A patent amended by disclaimer thus 
speaks from the date of the original patent, while the 
re-issued patent, with respect to the amended claim, 
speaks from the date of reissue. If respondent could 
thus, by disclaimer, add the flywheel to the arcuate 
flexing claim and to the optical claim, he w^ould in 
effect secure a new patent operating retroactively in 
a manner not permitted by the re-issue statute and 
without subjecting the new claims to revision or 
restriction by the customary patent office procedure 
required in the case of an original or re-issued patent. 
Such transformation of a patent is plainly not within 
the scope of the disclaimer statute, and the attempted 
disclaimer as applied to Claims 9 and li is void. 
Hailes V. Albany Stove Co., 123 U. S. 582, 587; (*2) 
see Union Metallic Cartride Co. v. United States Cart- 
ridge Co., 112 U. S. 624, 642; Collins Co. v. Coes, 130 
U. S. 56, 68; compare Grant v. Walter, 148 U. S. 
547, 553. It is unnecessary to consider whether the 
flywheel claim, if added tO' the original Claims 9 and 
13, is such a part of the patentee's original concep- 
tion as to entitle it to the benefit of the re-issue 
statute. See Miller v. Brass Co., 104 U. S. 350, 355; 
Hoffheins v. Russell. 107 U. S. 132, 141; Gage v. 
Herring, 107 U. S. 640. 645; Ives v. Sargent, 119 U. S. 
652, 663; Corbin Cabinet Lock Co. v. Eagle Lock Co., 
150 U. S. 38, 41-43. 

With the invalid iJisclaimer must fall the original 
claims as they stood before the disclaimer. The dis- 
claimer is a representation, as open as the patent 
itself, on which the public is entitled to rely, that the 
original claim is one which the patentee does not, in 
the language of the statute, "choose to claim or hold 
by virtue of the patent.'' Upon the filing of the dis- 
claimers, the original claims were withdrawn from the 
protection of the patent laws, and the public was en- 
titled to manufacture and use the device originally 

(*) The disclaimer and re-issue statutes were adopt- 
ed to ovoid the rule that if one claim is invalid the 
whole patent is void. Moody v. Fiskc, 2 Mason 112, 
118; see Ensten v. Simon, Ascher & Co., 282 U. S. 
445, 452; Hailcs v. Albany Stove Co., 123 U. S. 582, 
589. The use of the disclaimer has been upheld where 
the elimination from the patent of the matter not re- 
lied upon did not operate to enlarge the monopoly of 
the patent, but narrowed it, as by eliminating in their 
entirety some of the claims of the patent. Sessions v. 
Romadka. 145 U. S. 29, 40; see Union Metallic Cart- 
ridge Co. V. United States Cartridge Co., 112 U. S. 
624, 642, or by striking out an alternative method or 
device, Dunbar v. Myers, 94 U. S. 187, 192, 194- 
Hurlburt v. Schillinger, 130 U. S. 456; Carson v. 
American Smelting & Refining Co., 4 F. (2d) 463, 469, 
470_ (CCA 9th), or by limitation of a claim or specifi- 
cation by deletion of unnecessary parts, Carnegie Steel 
Co. V. Cambria Iron Co., 185 U. S. 403, 435, 436; 
Marconi Wireless Telegraph Co. v. DeForest Radio 
Telephone &■ Telegraph Co., 243 Fed. 560, 565 (CCA 
2nd) . or by limiting the claim to a specific type of the 
general class to which it was applied. Minerals Separa- 
tion, Ltd. V. Butte &■ Superior Mining Co., 250 U. S. 
336, 354; United Chromium Inc. v. International Sil- 
ver Co.. 60 F. (2d) 913. 914 (CCA 2d); Seiberling v. 
Tliropp's Sons Co., 284 Fed. 746, 756, 757 (CCA 3rd). 

(*2) Albany Steam Trap Co. v. Worthinqton. 79 Fed. 
966, 969 (CCA 2d); Strause Gas Iron Co. v. Wm. H. 
Crane Co., 235 Fed. 126. 129. 130 (CCA 2d): Grasclli 
Chemical Co. v. National Aniline & Chemical Co. 26 
F. (2d) 305, 310 (CCA 2d); Hudson Motor Car Co. 
IK American Plug Co., 41 F. (2d) 672, 673 (CCA 6th) ■ 
Corn Products Refining Co. v. Pennick & Ford Ltd 
63 F. (2d) 26. 30. 31 (CCA 7th); General Motor, 
Corp. V. Riibsam Corp., 65 F. (2d) 217, 222 (CCA 
6th); Consumers Tobacco Co. v. American Tobacco 
Co.. 66 F. (2d) 926, 927 (CCA 3rd); Fruehauf Trailer 
^^Shway Trailer Co., 67 F. (2d) 558, 559, 560 
(CCA 6tli) : White v. Gleason Mfg. Co., 17 Fed 159 
lo'5 (C. C); Cerealine Mfg. Co. v. Bates, 77 Fed. 
S83, 884 (C. C.) ; Westinghousc Air Brake Co. v. New 
York .4ir Brake Co., 139 Fed. 265, 267-270 (C. C). 

claimed as freely as though it had been abandoned. 
To permit the abandoned claim to be revived, with 
the presumption of validity, because the patentee had 
made an improper use of the disclaimer, would be 
an inadmissible abuse of the patent law to the detri- 
ment of the public. 

While the precise effect of an invalid disclaimer vipon 
the original claim seems not to have been judicially 
determined, analogous principles of the patent law 
are so well recognized as to leave no doubt what our 
decision should be. It has long been settled that a 
claim abandoned or rejected in the patent office with 
the acquiescence of the applicant cannot be revived in 
a re-issued patent. Yale Lock Co. v. Berkshire Bank, 
135 U. S. 342, 379; Dobson v. Lees, 137 U. S. 258, 
263-265. Nor can an interpretation be given the al- 
lowed claims which would revive the claims which 
were abandoned in order to obtain the patent. Shepard 
v. Carrigan, 116 U. S. 593, 597; Roemer v. Peddie, 
132 U. S. 313, 317; Royer v. Coupe, 146 U. S. 524, 
532; Corbin Cabinet Lock Co. v. Eagle Lock Co., 150 
U. S. 38, 40; Morgan Envelope Co. v. Albany Paper 
Co., 152 U. S. 425, 429; I. T. S. Co. v. Essex Co., 
272 U. S. 429, 443; Smith v. Magic City Club, 282 
U. S. 784, 789, 790; Smith v. Snow, supra. Similarly, 
where, in order to secure a re-issued patent, a dis- 
claimer is made of a part of the original claims, the 
part so disclaimed cannot be revived by a second 
re-issued patent, Leggett v. Avery, 101 U. S. 256, 
nor where the disclaimer is for the purpose of se- 
curing an extension of the original patent. Union 
Metallic Cartridge Co. v. U. S. Cartridge Co., supra, 
644. See Collins v. Coes, supra, 68; compare Gage v. 
Herring, supra, 646. The settled rule that unreason- 
able delay in making a disclaimer invalidates the 
whole patent, Ensten v. Simon Ascher & Co., 282 
U. S. 445, 452-458; compare O'Reilly v. Morse, 15 
How 62, 121; Seymour v. McCormick, 19 How. 96, 106; 
Silsby V. Foote, 20 How. 378, 387; Gage v. Herring, 
supra, 646; Yale Lock Mfg. Co. v. Sargent. 117 U. S. 
536, 554; Minerals Separation, Ltd. v. Butte & Super- 
ior Mining Co., 250 U. S. 336, 354, rests upon the 
similar principle that misuse of the patent, or a part 
of it, by the patentee in such a manner as to mislead 
the public or operate to its detriment, deprives the 
claim of the benefit of the patent laws. T'he part of 
the patent disclaimed can stand in no better position 
because the disclaimer was an unsuccessful misuse 
of the disclaimer statute. 

As Claims 9 and 13 must be held invalid because 
of' the improper disclaimers, and as the remaining 
claims in issue, the flywheel claims, are held invalid 
for want of invention, it is unnecessary to determine 
whether the improper disclaimers as to some of the 
claims render the entire patent void, as petitioners 
contend, and as has been intimated but not decided. 
See Hailes v. Albany Stove Co., supra, 589; Marconi 
Wireless Telegraph Co. v. DeForest Radio Tel. & 
Tel. Co., 243 Fed. 560, 565 (CCA 2d); Seiberling v. 
Thropp's Sons Co., 284 Fed. 746, 756, 759 (CCA 3rd). 

Mr. Justice Brandeis took no part in the considera- 
tion or decision of this case. 

Court Dissolves 
Film Securities 

Film Securities Corporation, organized as 
a iiolding company for the Fox stock interest 
in Loew's, Inc., under a government consent 
decree of 1931, was dissolved and its trustees 
dismissed under a court order signed in New 
York Tuesday by Federal Judge John Knox. 

The company had been preparing for its 
final dissolution for the past year. Follow- 
ing the sale at auction on December 19, 1933, 
of the 660,900 shares of Loew's, Inc., which 
constituted the sole assets of Film Securities, 
it realized the purpose for which it had been 
organized, to end the dual control of Fox 
and Loew's by a single interest. 

House Approves A. T. & T. 
Investigation Resolution 

The House of Representatives early this 
week approved at Washington the Senate 
resolution calling for an investigation of 
the American Telephone and Telegraph 
Company and its subsidiaries by the Federal 
Communications Commission. The resolu- 
tion now will go to the President for signa- 

Recovery Act Quizi 
Begun by Senate 
Finance Group 

A searching investigation of the operation 
of the industrial recovery act has been in- 
itiated by the United States Senate's finance 

Consideration of the motion picture code 
is seen assured by the agreement that, if the 
inquiry was left to the finance committee, 
the four Senators not members thereof who 
had been seeking investigations would be 
invited to join in questioning witnesses. 

The four are Senators Nye of North Da- 
kota and Borah of Idaho, both of whom have 
sharply criticized the motion picture code, 
and McGill of Kansas and McCarran of 
Nevada. Senator King of Utah, who was 
to lead a judiciary subcommittee in its pro 
posed investigation, also is a member of the 
finance committee. 

Hearings May Begin in Week 

Public hearings on the question of the recov- 
ery act probably will begin next week. It 
was evidenced that the pending inquiry is 
taken seriously by the Recovery Adinistration. 

The Senate finance committee planned to 
meet Wednesday to plan its investigation. 
Senator Nye immediately will take the spot- 
light of the investigation of the motion picture 
code phase. The Senator will base his inquiry 
on much of the report of the Darrow Board. 

The motion picture Code Authority, Senator 
Nye charges, is a quasi-judicial body, deciding 
controversies as it sees fit, with producer repre- 
sentatives in preponderance. 

Formal Charges Waited 

The film Code Authority announced that 
unless charges hurled against it at the Motion 
Picture Theatre Owners' of America conven- 
tion in New Orleans last week and demands 
for increases in code cancellation privileges are 
presented formally to the Code Authority for 
investigation, that body will take no cognizance 
of them. 

Clarification of the non-theatrical clause in 
the code as to its limitations were to be sought 
this week at the regular Code Authority ses- 
sion in New York. One of the main points 
involved is the angle of public institutions, 
among which are schools, permitted to operate 
in competition with established theatres. The 
case at issue involves the Trimble theatre, 
Mt. Sterling, Ky., and the Morehead State 
Normal School at Morehead, Ky, 

Approximately $30,000 more than require- 
ments now being held by the Code Authority 
will be credited or returned to the industry 
next June, under orders issued by the Na- 
tional Industrial Recovery Board. 

In approving the 1934 budget, the recovery 
board ordered that the excessive 1934 con- 
tributions be carried as a surplus until the 
second half of the current year. Then, if the 
recovery act is continued, they will be credited 
against assessments for the last part of 1935, 
and if the act is not continued they are to be 
returned. The surplus arising f rom the con- 
tributions of each division of the industry will 
be credited to that division and divided pro 
rata upon the members. 

The board also provided that distributors 
shall be billed for the contributions of the 
producers they represent but are not to be 
made liable therefor. In the event a pro- 
ducer fails to authorize his distributors to make 
payment for him, the code authority is to call 
upon him for his gross figures and bill him 
direct for his share of the assessment. 

March 9, 1935 



From Penny Arcade Day to 27 Years 
Of Continuous Operation^ Ohio Record 

The Exhibit Theatre, a few weeks after it opened April 20, 1907 

In 1905 Max Steam, now manager of the 
Southern theatre at Columbus, Ohio, and of 
Olentangy Park, opened the first Penny 
Arcade in Columbus, with a single Miita- 
scope as sole equipment. So well did the 
public take to the new entertainment that 
Mr. Steam decided to build a real theatre 
for ^notion pictures, immediately adjoining 
the Edisonia in the heart of downtown. This 
was the Exhibit, with a fancy, well-lighted 
front, 300 seats and a substantial screen. 

Playing "day and date" with a circus, the 
Exhibit opened April 20, 1907, and 6,000 
persons attended the first day. The opening 
program consisted of "Wonderful Flames" 
a "thriller," made by C. G. P. C. (Pat he) 
from France; "Tragic Rivalry," in colors, 
and "Amateur Night," Vitagraph release. 

Subsequently one "feature" was elimi- 
nated and the theatre played two single reels 

and a slide song. Then Mr. Steam dropped 
one of the singles, and later one chorus of 
the slide song, reducing the program /o 10 
minutes, with a two-minute intermission be- 
tween shows. Admission continued to be 
five cents. 

State Fair Week in 1907 was the biggest 
week the theatre had, playing to 34,000 at 
a gross of $1,700. 

After operating the Exhibit for seven 
years, Mr. Steam turned it over to Robert 
J. Hartman, and when Mr. Hartman went 
to war in 1917 the theatre reverted to the 
building manager, E. M. Nichols, who has 
operated it as a straight motion picture house 
ever since. 

The theatre is intact, just as it was built, 
except for a few changes of the front and 
the interior decorations. It is believed to be 
the only theatre in Ohio which has been in 
operation continuously for 27 years. 

Critic Attacks 
Academy Awards 

The annual awards of the Academy of 
Motion Picture Arts and Sciences for ex- 
cellence in acting are attacked by Lowell 
Lawrence, film critic of the Kansas City 
Journal-Post , who complains that "'the Acad- 
emy seems to have forgotten what consti- 
tutes good acting." 

"In giving the awards for the finest screen 
performances of 1934 to Clark Gable and 
Claudette Colbert for their work in 'It Hap- 
pened One Night,' the Academy has, in my 
opinion, hanged Thespis in effigy and shown 
a discouraging lack of appreciation for true 
artistic merit in Hollywood," it is charged 
by Lawrence. 

He charges further that the acting awards 
were based on box-office popularity and 
"winning personality" rather than "histrionic 

In Lawrence's opinion, the honors should 
have gone to Robert Donat for his part in 
"The Count of Monte Cristo" and to Bette 
Davis for her work in "Of Human Bond- 

"The ability to draw vivid characteriza- 
tions, not merely showing off personality, is 
the mark of great acting," he adds. 

Protests Fee for 
National Park Use 

When, last year, President Roosevelt 
urged the public to make greater use of the 
country's national parks, and invited motion 
picture companies to do likewise in order 
to encourage the movement, Sol Lesser, 
Coast producer, took advantage of the invi- 
tation and made "Dude Ranger" in Zion 
National Park without fee to the govern- 
ment. This year he asked the Department 
of the Interior for permission to produce 
"The Cowboy Millionaire" in the same loca- 
tion, but received a wire asking payment 
from Secretary of the Interior Ickes. 

The telegram said : "Under a new policy 
laid down by this department adequate com- 
pensation will be required in all cases of 
filming pictures in national parks or on 
properties within the jurisdiction of the De- 
partment of the Interior. Will gladly issue 
permit requested upon undertaking by you 
to pay $5,000 for privilege." On protest, 
Mr. Ickes reduced the fee to $2,000. 

Mr. Lesser has delayed production, pend- 
ing the outcome of a direct appeal to Presi- 
dent Roosevelt. He bases his request for 
free use of the park on the money which 
will be spent in Utah by the company, and 
the film publicity the park will receive. 

Two Companies Plan 
Studios in Florida 

Two producing companies, American Na- 
tional Pictures, Inc., Merrill Waide presi- 
dent, and British-American Cinema Studios, 
Inc., have determined to build film studios 
in the vicinity of Miami, Fla., following 
activity of the Greater Miami Studio Indus- 
tries committee, and after adoption of the 
state constitutional amendment exempting 
film studios from taxation for l.'^ years. 

Maryland Censor Rejected 
Only 9 of 2,261 in 1933-34 

The Maryland state censor board, in its 
annual report, covering the year to Septem- 
ber 30, 1934, indicated it has examined 2,261 
films, of which nine were entirely rejected, 
with four later passed in revised form, and 
had ordered eliminations in 779 films. These 
figures compare with 1932-33 totals of 2,325 
films examined, and eliminations ordered in 
676. Total board receipts were $36,563, a 
gain of $2,687.54 over the previous year. 
The state received $9,389.51 revenue. 

Claude Neon Company 
Shows Profit Increase 

Claude Neon Electrical Products Corpo- 
ration, Ltd., and subsidiaries, Los Angeles, 
reports for the calendar year 1934 net profit 
of $392,766, after depreciation, federal taxes, 
and other charges, equal, after $6,491 divi- 
dends on the seven per cent preferred stock, 
to $1.47 per share on the 262,193 non-par 
common shares. This compares with net 
profit of $324,823, or $1.15 a share on 262,- 
303 shares of common stock in 1933, after 
$20,958 preferred dividends. 



March 9 , 19 3 5 

J. C. JcNriN$--Hi$ CoLriiM 


Alamo, Texas 

Dear Herald: 

Some of these Longhorns down here have 
a pretty prolific imagination. One fellow 
said the other day that he had 153 hens 
that laid 152 eggs every day. A fellow asked 
him what was the matter with the other hen 
that she didn't lay, and the Longhorn replied, 
"Well, you see, she was too busy, she had to 
keep books." This reminds us very much of 
a letter we got the other day from H. J. 
Longaker of Glenwood, Minnesota. He 
asked us to come up there and go fishing 
with him, said they were catching lots of 
fish by spearing them through the ice, and 
that the day before he speared a sunfish that 
weighed 110 pounds, but he didn't say 
whether it was dressed or in its stocking 

We are going to try and match this hen 
man against H. J. and if we can we are 
going to bet on Ray Musselman of Lincoln, 
Kansas, or Harold Stettmund of Chandler, 


Cashier Fine, Too 

Jevver see "Anne of Green Gables" ? 
There is a picture you ought to go and get 
without waiting for breakfast. Bert Bos- 
well of the Plaza theatre at Donna invited 
us to come there and see it. 

Anne was an orphan, and a man and his 
wife adopted her, and when the man brought 
her home his wife blew up because she was 
a girl instead of a boy. This woman had 
a sister who was just about as mean and 
ornary as she was, and they were two of 
the meanest old cats you ever saw. We used 
to know a woman back in Indiana who was 
as mean as both of 'em. in fact she was so 
mean that a grasshopper wouldn't stay on the 
place. Anne was a dandy kid, and she tried 
as hard as she could to please both of these 
old jaybirds but it was no use, so the man 
finally took her back to the poor farm, but 
after she had gone this old snapping-turtle 
began to miss her and she finally sent the 
old man back to get her because she said 
she couldn't get along without her. There 
was no darn sense in two old pelicans act- 
ing as they did towards Anne for she was 
a peach of a kid and, listen Gertie, you will 
warm up to her the minute you see her. But 
say, those two old ladies were there and over 
when it comes to acting their parts, but 
who would want to act their part ? 

We are indebted to Mr. Boswell for in- 
viting us down to see the picture, and we 
are also thankful because we got to meet 
Elizabeth Freetag, his cashier, and we have 
been wondering ever since just what her 
nationality is. She is not a Mexican and 
she is not a Swede. Our guess is that she 
came from Nebraska, and if she did she 

is all right. 


Since that hen man told about his hens 
laying 152 eggs every day and Longaker 
told about spearing that sunfish, we were 
not going to tell you about those sharks 
(that we didn't catch) down in the gulf the 
other day. The doctor wouldn't let us afo. 

We are informed that the Government 
has started the preliminary work on that 
"Shelterbelt" they are going to plant, and 

now we are going to buy us a pair of rubber 
boots and three umbrellas so as to be pre- 
pared for the rain. That "Shelterbelt" will 
be a good place for jackrabbits. 


We note that our old friend, Bert Silver 
of the Silver theatre at Greenville, Michi- 
gan, is a regular contributor to "What the 
Picture Did for Me," and if you think that 
Bert don't know pictures then you have 
been putting in too much time watching 
the squirrels. While Bert isn't related to 
old pegleg "Chon Silver" he used to be 
mayor of Greenville and Greenville has 
about 5,000 Wolverines and quite a num- 
ber from Indiana. Bert has his office in 
one room of his home and it has been our 
pleasure to sit in his office and hear him tell 
of the early days in the show business in 
Michigan with the "Silver Family Theatre 
Co." If you should ever go to Michigan, 
go and call on Bert and see his theatre, 
and give Berf our regards. 


Just as the moon was coming up the other 
night we heard a crooner on the radio sing- 
ing "I'm dying to fold you in my arms, 
dear," and then we asked the landlord where 
he kept the ax. 


Somebody's Boner 

The recent heavy wind they had down 
here blew hundreds of bushels of grape- 
fruit oH the trees, and, under some kind of 
a law, the growers are required to bury it. 
Yesterday we saw more than a drayload of 
fine fruit thrown in the trenches to be buried, 
just as good fruit as were left on the trees, 
but they could not be shipped. There is 
something wrong down here when they 
won't allow fruit to be shipped into a coun- 
try where there is none of its kind ever 
grown. Somebody is pulling a boner. 

Just as soon as we get that Old Age Pen- 
sion of $15 a month that is being advocated, 
we are going to buy us a new pair of socks 
and maybe change our politics, too. 

We note that one fellow is predicting, 
In effect, that for the good of the industry, 
pictures should show more sin. Yes Indeed. 
Some directors will probably agree with 
him. We don't know this advocate of sin, 
but our guess is that he wasn't brought up 
In the country or small towns, but he knows 
the Bowery from Bleecker street to the 
docks. For the good of the Industry, why 
not more sin? For the good of the nation, 
why not more kidnappers? Wonder if the 
Legion of Decency will approve of his 

In spite of the mercury being 91 in the 
shade; in spite of having to bury tons upon 
tons of fruit; in spite of the centipedes, 
scorpions, rattlesnakes and other reptiles 
(although we haven't seen any yet) business 
at the theatres seems to be on the upgrade. 
This may be accounted for by one of two 
reasons: Pictures are getting better all the 
while, or the people want some place to go. 
We are inclined to believe that the first 

reason is right, and if right, thanks to the 
Legion of Decency. That organization 
doesn't seem to favor the showing of sin 
in its entertainment, and that organization 
doesn't stand alone in these United States of 
America by a whole lot. 

V • 

Those stars out in Hollywood are a mighty 
fine lot of people, but somewhat queer. We 
have tried to tell the truth about them in 
this colyum but they probably believe in that 
old saying that "what you get for nothing 
isn't worth much", since we seldom receive 
any thanks for the good things we try to 
say of them, when they deserve it. Not 
only that but they are exceptional people, 
and should we ever go to Hollywood again 
we will go and call on them, provided the 
butler will let us in. 


There is this about writing a colyum 
that the bulk of the writers don't understand, 
and that is that the less you write the better 
the readers are satisfied. It isn't just neces- 
sary to write what you know, but to know 
what to write, and that's our trouble right 
now, and that's the reason we are going to 
quit right here. 

The HERALD'S Vagabond Colyumnist 

Milwaukee Variety Club 
Takes Over New Quarters 

Members and officers of the Milwaukee 
Variety Club were inducted last week in 
the new club rooms in the Franklinton 
Hotel. Among those present were John Har- 
ris, national chief barker ; James Balmer, 
national chief property man, and "Rosey" 
Roswell, radio star. 

Officers installed at the meeting are: 
George Fischer, chief barker; Charles W. 
Trampe, first assistant chief barker ; Sam 
Shurman, second assistant chief barker; 
Gen Konig, property man ; A. N. Schmitz, 
wagon man, and H. J. Fitzgerald, A. C. 
Guttenberg, A. D. Kvool, E. F. Maertz, J. 
O. Kent and E. J. Weisfeldt, canvasmen. 

Robb & Rowley Acquire 
12 Theatres; Total Is 82 

Robb & Rowley circuit has added 12 
theatres to its Texas holdings, making a 
total of 82 houses. Theatres in Taylor, 
Brenham and four other Texas towns are 
included in the acquisitions. Harold Robb 
and Ed Rowley, and J. Y. Robb, arrived in 
New York last week on film deals. They 
attended the Motion Picture Theatre Owners 
of America convention in New Orleans. 

Sentry Safety Control 
Shows Profit for Year 

Sentry Safety Control Corporation has re- 
ported a net profit of $10,025 in 1934, after 
depreciation, expenses and other charges. 
Combined with net loss of $7,342, reported 
by Universal Sound System, Inc., a sub- 
sidiary, the company's net profit is equal to 
$2,683 for the year. 



It wasn't even a contest. He was so far in the lead that you couldn't 
see any of his competitors, even on a clear day. Certainly we mean the 
Annual Radio Poll of the New York World -Telegram in which 260 of 
America's foremost radio editors voted for the favorite commentator of 
the air waves. Ed Hill got 246 enthusiastic votes. He won last year, too! 
That's why the name of EDWIN C. HILL, Globetrotter of M-G-M's 
HEARST METROTONE NEWS is bringing extra dough to thousands 
of Showmen who know what's top! 



March 9, 1935 


"The leap toward fitter prodnction is so marked that appreciation is pouring in from 
the ttiany-tniiided public," says the office of Mrs. T. G. Winter, public relations de- 
partment of the Hollywood office of the Motion Picture Producers and Distributors 
of Atnerica, in announcing its compilation of foretnost productions for the month 
ended January 15 th. Following are the titles and details as to distributor, director, 
cast, and audience suitability: 

Best of the Month 

David Copperfield. MGM. Director, George 
Cukor. From the novel by Charles Dickens. 
Cast: Freddie Bartholomew, W. C. Fields, 
Edna May Oliver, Lionel Barrymore, Eliza- 
beth Allan, Roland Young, Lewis Stone, Mau- 
reen O'Sullivan, Frank Lawton, Madge 
Evans, Basil Rathbone, Una O'Connor, Her- 
bert Mundin. Family. 

Lives of a Bengal Lancer. Paramount. Di- 
rector, Henry Hathaway. Cast : Gary Cooper, 
Franchot Tone, Richard Cromwell, Sir Guy 
Standing, Katherine De Mille. From the 
novel of the same name by Francis Yeats- 
Brown. Adults and young people. 

The Man Who Reclaimed His Head. Uni- 
versal. Director, Edward Ludwig. Cast: 
Claude Rains, Lionel Atwill, Joan Bennett, 
Carol Coombe, Wallace Ford. Adults and 
young people. 

Topics of the Day 

Devil Dogs of the Air. Warner. Director, 
Lloyd Bacon. Cast: James Cagney, Pat 
O'Brien, Margaret Lindsay. Family. 

Life Returns. Produced by Lou Ostrow. Re- 
leased by Universal. Director, Dr. Eugen 
Frenke. Presents Dr. Robert E. Cornish. 
Cast: Onslow Stevens, George Breakston, 
Lois Wilson, Valerie Hobson. Family. 

Manlock. Fox. Director, Raoul Walsh. Cast : 
Victor McLaglen, Edmund Lowe, Grace 
Bradley, Marjorie Rambeau. Adults and 
young people. 

Wings in the Dark. Paramount. Director, 
James Flood. From the story "Eyes of the 
Eagle," by Nell Shipman and Fliil D. Hurn. 
Cast : Myrna Loy. Cary Grant, Roscoe Karns, 
Hobart Cavanaugh. Family. 

Social Drama 

Gilded Lily. Paramount. Director, Wesley 
Ruggles. Cast : Claudette Colbert, Fred Mac- 
Murray, Ray Milland. Family. 

The Last Gentleman. United Artists. Direc- 
tor, Sidney Lanfield. Story by Katherine 
Clugston. Cast : George Arliss, Janet Beech- 
er, Edna May Oliver, Ralph Morgan. Adults 
and young people. 

Mills of the Gods. Columbia. Director, Roy 
Wm. Neill. Cast : May Robson, Fay Wray, 
Victor Jory. Family. 

North Shore. Warner Bros. Director, Robert 
Florey. Cast : Barbara Stanwyck, Gene Ray- 
mond, Genevieve Tobin, John Eldredge. 
Adults and young people. 

One Hour Late. Paramount. Director, Ralph 
Murphy. Cast : Joe Morrison, Helen Twelve- 
trees, Conrad Nagel, Toby Wing, Arline 
Judge. Adults. 

Only Eight Hours. MGM. Director, George 
Seitz. From the novel "The Harbour," by 
Theodore Reeves. Cast : Chester Morris, Vir- 
ginia Bruce, Robert McWade. Adults. 

Strange Wives. LTniversal. Director, Richard 
Thorpe. From "Bread on the Waters," by 
Edith Wharton. Cast : Roger Pryor, June 
Clayworth, Esther Ralston, Ralph Forbes, 
Doris Lloyd, Ivan Lebedeff, Leslie Fenton, 
Genevieve Tobin. Claude Gillingwater. Adults 
and young people. 

Musical Romance 

Music in the Air. Fox. Director, Joe May. 
Cast : Gloria Swanson, John Boles, Douglass 
Montgomery, Reginald Owen, Joseph Caw- 
thorn, Hobart Bosworth. Family. 

The Night is Young. MGM. Director, Dud- 

ley Murphy. From the story "In Old Vienna," 
by Vicki Baum. Cast : Ramon Novarro, Eve- 
lyn Laye, E. E. Horton, Charles Butterworth, 
Una Merkel. Family. 

Mystery and Melodrama 

The Best Man Wins. Columbia. Director, 
Erie Kenton. Cast: Edmund Lowe, Jack 
Holt, Bela Lugosi. Family. 

Charlie Chan in Paris. Fox. Director, 
James Tinling. Cast: Warner Oland, Mary 
Brian, Erik Rhodes, Conchita Montenegro. 
Adults and young people. 

Crime Without Passion. Paramount, Direc- 
tion and story: Ben Hecht, Charles MacAr- 
thur. Cast: Claude Rains, Wliitney Bourne, 
Margo, Stanley Ridges, Leslie Adams. Adults. 

A Notorious Gentleman. Universal. Director, 
Edward Laemmle. Cast : Charles Bickf ord, 
Helen Vinson, Onslow Stevens. Adults and 
young people. 

The White Cockatoo. Warner. Director, Alan 
Crosland. Cast: Jean Muir, Ricardo Cortez, 
Gordon Westcott, Ruth Donnelly. Adults and 
young people. 


Power. Gaumont-British. Director, Lothar 
Mendes. From novel by Leon Feuchtwanger. 
Cast : Conrad Veidt, Frank Vosper, Cedric 
Hardwicke, Benita Hume, Sir Gerald du 
Maurier. Adults. 

Short Subjects 

(* — The best are starred.) 

Note: Wherever the names of two producing com- 
panies are given in the following list, the^ first in- 
dicates the producer and the second the distributor. 
F. indicates suitability for family. J. M., interest and 
suitability for children's matinees. A., for adults 
only. Y. P.. interesting to young people. 

Radio Row No 1. Pepperpot Series. Vitaphone. 
Songs and music. F. 

*Pictorial No. 6. Paramount. A Robert Bruce 
production with music by Rubinoff. F. 

*Geneva by the Lake. Fox. Magic Carpet 
series. Beautiful scenes of country and peo- 
ple. F. 

Movie Memories. Vitaphone. Bits from pic- 
tures of early film stars, most of whom are 
now dead. A. and Y. P. 

Yacht Club Boys Garden Party. Paramount. 
Quartet. F. 

*Hey, Hey, Fever. MGM. Color cartoon. 
Mother Goose characters finds a way to work 
out of the depression. F. 

*Village Blacksmith. F.N. Color novelty. 
Picturization of Longfellow's poem. F. 

Harlem Harmonies. Educational-Fox. Treas- 
ure Chest series. Colored choruses and com- 
edy. F. 

Dog Show. Fox. Terrytoon cartoon. Dogs 
stage a rodeo. F. 

We Aim to Please. Paramount. Popeye car- 
toon. F. 

*The Hare and the Tortoise. Walt Disney- 
Urited Artists. Silly Symphony in color. F. 

*Da^<'n to Dawn. A Cameron Macpherson 
production. Emotional moods and landscapes. 

Is Photoplay Ad Manager 

Curtis J. Harrison has been named east- 
ern advertising manager of Photoplay 
Magazine, succeeding Herbert J. Donahue, 
resigned. Mr. Harrison has been with 
Photoplay for 16 years. 

RKO Radio Sets Deals 
For Foreign Distribution 

RKO Radio has closed several foreign 
distribution deals on its product. Included 
are Gloria Films, Stockholm, to distribute 
in Denmark; Kemal Films, Istambul, for 
Turkey and Franco-Paris Film of Warsaw, 
for Poland. 

Eight Radio features will be dubbed in 
French and distributed in France by Radio 
Cinema of Paris, after the films have had 
first runs with superimposed French titles. 
The deal was concluded by E. D. Leishman 
and Harry Leasim of Radio Pictures Inter- 
national, Ltd. 

Holt Heads Cleveland 
Unit of Variety Club 

Nat Holt was unanimously elected presi- 
dent of the Cleveland Variety Club at a 
meeting last week. Mr. Holt succeeds Frank 
D. Drew, MGM, who was tendered a ban- 
quet upon completion of a year's service as 
president. Other officers elected were : I. 
J. Schmertz, Fox, first vice-president; 
Colonel Harry E. Long, Loew, second vice- 
president ; M. E. Horwitz, local circuit head, 
secretary ; Nat L. Lefton, Monogram, treas- 
urer. Mr. Drew, Jess Fishman and Jack 
Shulman were elected to the board of trus- 

Donat Assigned Title Role 
For Reliance's "Robin Hood" 

Robert Donat. the Edmund Dantes of 
Reliance's "The Count of Monte Cristo," 
United Artists release, has been assigned 
the title role in the Reliance production of 
"Robin Hood." Mr. Donat, now appearing 
on the English stage, will return to Holly- 
wood at the conclusion of his present en- 
gagement, at which time "Robin Hood" 
will go into production. It also will be re- 
leased by United Artists. 

Deals Are Closed for 
Several Action Series 

Majestic Pictures Corporation of Ohio 
has closed a deal with Stage and Screen 
Productions for distribution in Ohio and 
Kentucky of several series of action fea- 
tures, including six Police Dog subjects, 
six Northwest Mounted features, and with 
Superior Talking Pictures for six Rough 
Rider and six Range Rider westerns. Nat 
Lefton of Monogram Pictures Corporation 
of Ohio has taken the same product for 
western Pennsylvania and West Virginia. 

Berlin Firm Bankrupt 

At a recent meeting of the creditors of 
Aafa in Berlin, it was revealed that assets 
of only 10,000 marks are available against 
preferred claims of 102,000 marks and or- 
dinary claims of 1,200,000 marks. 

Dramatic Critic Resigns 

Lloyd Thompson, for six years dramatic 
editor and critic of the San Francisco Ex- 
aminer, has resigned to devote his time to 
play writing, and has been succeeded by 
Ada Hanafin. 

Plan Monogram Drive 

Monogram franchise holders will hold a 
play-date drive from May 1, to May 31 in 
honor of W. Ray Johnston. Monogram pres- 

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^ \ Jlw n making [dfoucJ acknowledgement of tke Annua 1 ; 

^ Awards of tke Academy oi Motion Picture Arts and Sciences, } 

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^ Columkia announces its Fifteentk Anniversary. "L 

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^ It is l^ecukarly fitting fkat tke organization wkick kad its kumkle ^ 

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( keginning in igao witk tke advent of tke Hall Room Boys skould S, 

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I in successive stages mark its way uf>ward tkrougk Sukmarine , S 

^ Fligkt , Platinum Blonde , Dirigikle , Lady For A Day , "It \ 

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I and Tke ^\)/kole Town's Talking to tke kigkest konors witkin ^ 

^ tke gift of a d istinguisked Academy and simultaneously estaklisk itsell ^ 

* in tke world-wide confidence of exkikitors. ^ 

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( ^X^e acknowledge witk tkanks tke good wiskes and congratulations j 

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March 9 , 19 3 5 


Productions are listed according to the names of distributors in order that the exhibitor may have a short-cut towards such 
information as he may need, as well as information on pictures that are coming. Features now in work or completed for release 
later than the date of this issue are listed under "Coming Attractions." Running times are those supplied by the companies. 
Asterisk indicates running time as made known by West Coast studio before announcement by home office in New York. Varia- 
tions also may be due to local censorship deletions. Dates are 1934, unless otherwise specified. Letter in parentheses after 
title denotes audience classification of production: (A) Adult, (S) General. Numerals following audience classification are pro- 
duction numbers. 





Fight Trooper, The Kermit IVIaynard ..Nov. 

Northern Frontier Kermit IVIaynard Jan. 

Running Time 
Rel. Date Minutes Reviewed 

15. '35. 

Comina Attractions 

His Fighting Blood Kermit IVIaynard July 26, '35 

Red Blood of Courage Kermit IVIaynard Apr 

Sandy of the Mounted Kermit Maynard 

Timber War Kermit Maynard 

Trails of the Wild Kermit Maynard June 26. '35 

Wilderness Mail Kermit Maynard Mar. 13, '35 

17, '35. 
Aug. 26. '35. 
May 21. '35. 




Title Star 

Curtain Falls, The (A) Henrietta Crosman Oct 

Green Eyes (G) Charles Starrett-Shirley Grey. ...June 

Sons of Steel C. Starrett - Polly Ann Young. . Dec. 

World Accuses, The Dickie Moore - Russell Hopton - 

Cora Sue Collins Nov. 

Coming Attractions 

Circumstantial Evidence Chicli Chandler-Shirley Grey 

Happiness CCD 

Shot in the Dark, A Charles Starrett-Marion Shilling 

Running Time 
Date Minutes Reviewed 

I 67... Oct. 6 

15 67 Dec. 8 




Running Time 

Minutej Renewed 

61 Dec. I 

'35 57. Feb. 2,'35 

57 Dec. 20 

'35... 68. Jan. 5,'35 
105 Nov. 10 

'35 75. Feb. 23,'33 



Title Star Rel. Date 

Against the Law (A) John Mack Brown-Sally Blane . . . . Oct. 25 

Behind the Evidence (G) Norman Foster-Sheila Manners. . .Jan. 20, 

Best Man Wins, The (G) Tim McCoy-Shirley Grey July 20 

Beyond the Law (G) J. Holt-Florence Rice-E. Lowe... Jan. 5, 

Broadway Bill (G) Warner Baxter-Myrna Loy Dec, 27 

J, Durante - Lee Tracy - Sally 

Carnival (G) Filers - Florence Rice Feb. 10, 

Death Flies East Florence Rice-Conrad Nagel Feb. 28, 

(See "Mistaken Identity" "In the Cutting Room," Jan, I9,'35.) 

Fugitive Lady (A) Neil Hamilton-Florence Rice.. Get. 211.. 

(See "In the Cutting Room," Oct. 20.) 

Girl in Danger (A) Ralph Bellamy-Shirley Grey Aug. 29 

I'll Fix It Jack Holt-Mona Barrie Oct. 15 

Jealousy (G) Nancy Carroll-Donald Cook Nov. 20 

Lady by Choice (G) Carole Lombard - May Robson - 

Walter Connolly-Roger Pryor. Oct. 15..,. 

Law Beyond the Range Tim McCoy-Billie Seward Feb. I5,'35. 

Let's Live Tonight Lilian Harvey-Tullio Carminati. . Mar. I, '35 

(See "Once A Gentleman" "In the Cutting Room." Dec. 29.) 

Man's Game, A (G) Tim McCoy-Evelyn Knapp June 21 58 

Men of the Night (G) Bruce Cabot-Judith Allen Nov. 26 58. 

Mills of the Gods (G) May Robson - Victor Jory - Fay 

Wray Dec. 15 67. Jan. 

Prescott Kid Tim McCoy-Sheila Manners Nov. 8 56 

Square Shooter (Gl Tim McCoy Jan. 21, '35 .57 

(See "Quick Sand" "In the Cutting Room," Nov. 17.) 

That's Gratitude (A) Frank Craven-Sheila Manners. . . .Oct. 6 

Voice in the Night (G) Tim McCoy-Billie Seward Apr. 6 

Westerner, The (G) Tjm McCoy-Marian Shilling Dec. 10 

White Lies (A) Victor Jory-Fay Wray Nov. 27 

Whole Town's Talking, The (G) .Edw. G. Robinson-Jean Arthur. .Feb. 22,'35. 

.61 Dec. I 

.fl Nov. 17 

.60.... Dec. 13 

•!!5. . 
,58. . 


. Dec. 



64. . , . Nov. 


.74. Jan. 
*93. Jan. 

5, '35 
23, '35 

Coming Attractions 

Air Fury Ralph Bellamy-Tala Birell 

Black Room Mystery Boris Karloff 

Call to Arms (G) Willard Mack-Ben Lyon-Shiela 

Mannors-Wera Engels 

(See "In the Cutting Room," Nov, 3,) 

China Roars 

Depths Below \ 

Eight Bells Ann Sothern-Ralph Bellamy! ". 

(See "In the Cutting Room," Feb. 23,'35,) 

Feather in Her Hat, A 

Fighting Shadows Tim McCoy-Geneva Mitchell.!.!.!!!!!!,!!!'! 

Frisco Fury jack Holt 

Georgiana Ann Sothern 

Girl Friend, The Lupe Velez-Jack Haley 

Grand Exit 

Hot News Richard Cromwell-Biliie Seward !!!!!!!!!!!!! ! 

If You Could Onlv Cook Claudette Colbert 

I'll Love You Always Nancy Carroll-George Murphy! !.. Mar.' 2oV'35' 

(See "In the Cutting Room," Feb. 23, '35.) 
In Spite of Danger Marian Marsh-Wallace Ford Mar. 8, '35. 

(See "Devil's Cargo" "In the Cutting Room," Jan. 26,'35.) 

Jim Burke's Boy Florence Rice 

Lady Beware 

Maid of H onor !!!!!!!!!!!!!!!!!!!!!! 

On Wings of Song Grai-e ivioore !!! ! 

Party Wire Jean Arthur- Victor Jory 

Revenge Rider Tim McCoy-Billie Seward Mar. I8,'35 

(See "AP's lohn Law" "In the Cutting Room," Dec. 8,) 
Stranger in His House Jack Holt-Mona Barrie Mar. 20, '35 

(See "Gimpy" "In the Cutting Room." Mar. 2, '35.) 
Sure Fire Gene Raymond-Ann Sothern 


Features Running Time 

^!*.'°. . . Star Rel. Date Minutes Reviewed 

Blue Light (A) 5029 Leni Riefenstahl Oct. 15 90 

Cranguebille 5038 Dec. 15 

Girl in the Case 5005 Jimmy Savo-Eddie Lambert- 

„ . . . Dorothy Darling 60 

Kocha, Lubi Szanule 5041 ... (Polish) Nov. 1 72 

L'Agonie des Aigles (A) 5032. Pierre Renoir Dec. I 80 Dec 8 

Man Who Changed His Name, ..">=... 

The (A) 5036 1 yn Harding 65 Oct 27 

Mane 5043 Annabella Jan. I,'35 67. " 

Old Bill 5038 Anatole France story Feb. 10. '35... 70 

Viennese Love Song Maria Jeritza Feb. 15, '35 72!...!!.!!!!! 

Coming Attractions 

Lady of Camelias Y. Printemos-Pierre Fresnay Apr. 15, '35 

World in Revflt Graham McNamee Mar. 1,'35 


(Releases Monogram, Liberty. Chesterfield and Invincible pictures in certain territories.) 

Features Running Time 

Title Star Dist'r Rel. Date Minutes Reviewed 

Convention Girl Rose Hobart Oct. 31 

Flirtation Jeannette Loff- 

Ben Alexander Nov. 9 

Hei Tiki (G) (All Native Cast) ... Principal Feb. I, '35. 86. Feb. 9, '35 

Little Damozel Anna Neagle Dec. I 

Return of Chandu Maria Alba- 

Bela Lugosi Principal Oct. 4 

White Heat Virginia Cherrill Oct. 1 


Running Time 
Date Minutes Reviewed 
8 *75 Nov. 17 

I . 

20 ... . 
2, '35. 

. .97. . 

.''75. . 
. .86. . 

. .70, . 


I2,'35 62 Nov. 24 

15 61. Jan. 5, '35 

2,35 61 

20 69 Nov. 10 

9, '35 66 

16, '35 68 


Title Star Rel. 

Babbitt (G) 869 Aline MacMahon-Guy Kibbee Dec. 

Flirtation Walk (G) 752 Dick Powell - Ruby Keeler-Pat 

O'Brien Dec. 

Gentlemen Are Born (G) 872. . Franchot Tone-Jean Muir Nov. 

Happiness Ahead (G) 854 Dick Powell-J, Hutchinson Oct. 

I Sell Anything (G) 873 Pat O'Brien - Ann Dvorak - C. 

Dodd Oct. 

Living On Velvet 859 Kay Francis - George Brent - 

Warren William Mar. 

(See "In the Cutting Room," Dec, 8.) 

Maybe It's Love (G) 876 Gloria Stuart-Ross Alexander. ... Jan. 

Murder in the Clouds (G) 877.Lyle Talbot-Ann Dvorak Dec. 

Red Hot Tires 878 Lyie Talbot-Mary Astor Feb. 

Six Day Bike Rider (G) 864.. Joe E. Brown-Maxine Doyle Oct. 

While the Patient Slept 874... Aline MacMahon-Guy Kibbee. ... Mar. 
(See "In the Cutting Room." Dec. 29.) 

Woman in Red, The (A) 863 . B. Stanwyck-Gene Raymond Feb. 

(See "Northshore" "In the Cutting Room," Dec. 8,) 

Coming Attractions 

Alibi Ike Joe E. Brown 

Black Fury (A) Paul Muni-Karen Morley 

(See "In the Cutting Room," Jan, 19. '35.) 

Captain Blood Robert Donat-Jean Muir 

Case of the Curious Bride Warren William Apr. 13, "35 

Go Into Your Dance 853 Al Jolson-Ruby Keeler Apr. 20,'35 

(See "In the Cutting Room, " Jan, 19, '35.) 

Gold Diggers of 1935 (G) 851. Dick Powell-Gloria Stuart Mar. 16, '35 95. 

In Caliente 856 Dolores Del Rio-Pat O'Brien 

(See "In the Cutting Room," Feb. 2, '35.) 

Napoleon Edw. G. Robinson-Bette Davis 

Oil for the Lamps of China 867. J. Hutchinson-Pat O'Brien 

Singer of tJaples Enrico Caruso, Jr 

Traveling Saleslady 870 Joan Blondell Apr, 6.35 

(See "In the Cutting Room," Mar. 2, '35.) 
Wanderlust 875 Aline MacMahon-Guy Kibbee Apr. 27, '35 

(See "In the Cutting Room," Mar. 2, '35.) 

. .Oct, 



.Oct. 20 



5. . .. 

I, '35. 
1 l,'35. 


Title Star Rel. 

Baboona (G) 530 Mr. & Mrs. Martin Johnson Feb. 

Bachelor of Arts (G) 520 Tom Brown-Anita Louise Nov. 

(See "In the Cutting Room." Nov. 3.) 

Bright Eyes (G) 524 Shirley Temple-James Dunn Dec. 

Caravan (A) 508 Charles Boyer-Loretta Young- 
Jean Parker-Phillips Holmes. Oct, 

Charlie Chan in Paris (G) 526. Warner Oland Feb- 

County Chairman, The (G) 520. Will Rogers 'J^"- 

Dude Ranger, The (G) 507. ... George O'Brien Sept. 

Elinor Norton (A) 510 Claire Trevor - Norman Foster - 

Hugh Williams-G. Roland Nov, 

First World War, The (A) 519 Nov, 

Gambling (A) 512 George M. Cohan Nov. 

Great Hotel Murder (G) 522.. Edmund Lowe-Victor McLaglen . . Mar. 

Helldorado (G) 522 Richard Arlen-Madge Evans Dec. 

Hell in the Heavens (A) 517. Warner Baxter-C. Montenegro. .. .Nov. 

Little Colonel (G) 531 Shirley Tcmple-L. Barrymore Feb. 

Lottery Lover (G) 523 "Pat" Paterson-Lew Ayres Jan. 

Love Time (G) 506 "Pat" Paterson-Nils Asther Sept. 

Marie Galante (A) 511 Spencer Tracy- Ketti Gallian Oct. 

Music in the Air (G) 513 Gloria Swanson - John Boles - 

Douglass Montgomery Dec. 

Mystery Woman (G) 515 Mona Barrie-Gilbert Roland Jan. 

One More Spring (G) 529 Janet Gaynor-Warner Baxter Feb. 

Peck's Bad Boy (G) 516 Jackie Cooper-Thomas Meighan- 

Dorothy Peterson-Jackie Searl . Oct. 

Pursued (A) 502 Rosemary Ames-Victor Jory ..Aug. 

365 Nights in Hollywood (G) 

514 Alice Faye-James Dunn Oct. 

Under Pressure 521 Edmund Lowe-Victor McLaglen. . .Jan. 

(Reviewed under the title "Man Lock") 

When a Man's a Man (G) 527. George O'Brien Feb. 

White Parade, The (G) 518... John Boles-Loretta Young Nov. 

Coming Attractions 

Dante's Inferno Claire Trevor-Alice Faye 

(See "In the Cutting Room," Mar. 2, '35.) 

Doubting Thomas Will Rogers 

Gaucho Lover 528 Warner Baxter-Ketti Gallian June 7,'35. 

George White's 1935 Scandals 
534 Alice Faye-James Dunn Mar. 8,'35.... 

(See "In the Cutting Room." Feb. 23,'35.) 

Heaven's Gate Shirley Temple 

It's a Small World Spencer Tracy-Wendy Barrie 

Life Begins at 40 533 Will Rogers ., Mar. 22,'35 

(See "In the Cutting Room," Jan. 26, '35.) 

Man Proposes James Dunn-Mae Clarke 

Redheads on Parade 536 1. Boles-Claire Trevor-Alice Fay 

Secret Lives Gilbert Roland-Mona Barrie 

Spring Tonic Lew Ayres-Claire Trevor Mar. ISi'SS... 

$10 Raise Edward Everett Norton 

Running Time 
Date Minutes Reviewed 

8,'35 72. Jan. 26, '35 

23 74 

. .83. 

Dec. 15 

ini Sept. 8 

.*70.Jan, 5,'35 

.78 Dec. 29 

. 65.... Sept. 22 

2 72 Oct. 27 

23 78.,.. Nov. 17 

3 80 Dec. II 

l,'35....*70.Feb, 23, '35 

21 74. ...Dec. 15 

9 80 Nov. 3 

22,'35. . ..*80.Feb. I6,'35 

4, '35 82. Feb, 9,'35 

21 73,,,, Nov. 24 

26 88 Nov. 24 

7 81 Dec. 22 

I8,'35 69. Jan. 26,'35 

I5,'35 90, Feb. 9,'35 

19 70.... Sept. 8 

24 68 Nov. 24 


25, '35. 

.74.,.. Nov. 17 
•65. Jan. I9,'35 

1 5, '35 68. Mar, 2,'35 

16 83. ...Oct. 27 

March 9,1935 





Features Running Time 

Title Star Rel. Date Minutes Reviewed 

Chu Chin Cliow (G) 3401 Anna May Wong-George Robey...Oct. 15 95 Sept. 29 

Dictator, The (A) Clive Brooli 95. Feb. I6,'35 

Evensong (A) 3406 Evelyn Laye Dec. 15 82 Nov. 3 

Evergreen (A) 3405 Jessie Matthews-Sonnie Hale. ...Dec. 

Iron Duke, The (G) 3407 George Arliss Jan. 

Jack Ahoy (G) 3404 Jack Hulbert Feb. 

Little Friend (A) 3403 Nova Pilbeam-Matheson Lang. ...Nov. _ 

Lover Divine Marta Eggerth Oct. 13 

(Reviewed under the title "Unfinished Symphony") 
Man Who Knew Too Much, The 

(G) Peter Lorre-Nova Pilbeam 80 Dec. 29 

Man of Aran (A) Robert Flaherty Dec 77 Oct. 27 

My Heart Is Calling (G) Jan Kiepura 90. Feb. 2, '35 

My Song for You Jan Kiepura Nov. 10 

Power (A) 3402 Conrad Veidt.Benita Hume Nov. I 103 Oct. 13 

Princess Charming (G) 3408. .. Evelyn Laye-Henry Wilcoxon Jan. '35 81 

31 98 June 23 

'35 90 Dec. 22 

8,'35 70. Feb. 16. '35 

IB 88 Oct. 29 


[Distributed through Chesterfield] 

Features Running Time 

Tille Star Rel. Date Minutes Reviewed 

Ghost Walks, The John Milian-June Collyer Dec. I ' ' " 'mV.," ' 'oa 

One in a Million (G) Dorothy Wilson-C. Starrett Sept. 5 66.... Nov. 24 

Port of Lost Dreams (G) Wm. Boyd-Lola Lane Oct. 15 68.... Nov. 24 

Symphony for Living Evelyn Brent-AI Shean Jan. 20,35 75 

Coming Attractions 

Death from a Distance 

Public Opinion Lois Wilson-Shirley Grey 

Room and Board 


Running Time 
Rel. Date Minutes Reviewed 

..Oct. 8 

..Dec. 14 72. 

..Oct. 2 71. 

..July 20 74. 

July 21 
.May 10 
.Oct. 13 


Title Star 

No Ransom (A) 1004 Leila Hyams-Phillips Holmes. 

Once to Every Bachelor (A) 

1005 Marian Nixon-Neil Hamilton. 

Two Head's on a Pillow (A) 

1006 Neil Hamilton-Miriam Jordan. 

When Strangers Meet 1002 Richard Cromwell-Arllne Judge 

Coming Attractions ^, . 

Diz2y Daines M- Rambeau-Florine McKinney 

Old Homestead,' The :;:^^:;:M.'ary 'cariisle-Lawr^ Gray.. .ii 

School For Girls (A) 1007 Sidney Fox-Paul Kelly Mar. 22, 35 of Feb " 23 '35 

Sweepstake Annie (G) Marian Nixon-Tom Brown 81. Feb. 23,35 

Without Children (A) 1008 M. Churchill-Bruce Cabot 


. Dec. 

Fpnfiiret Running Time 

reuiMJco ^^^^ Pjj^^ Minutes Reviewed 

Niaht Alarm (G) 505 Bruce Cabot. Judith Allen-H. B. (New -^ork) 

IMignt Alarm (t.) ouo Warner - Fuzzy Knioht Dec. 15 .65. 

Perfect Clue, The (G) 512 David Manners-Dorothy Libaire.. Mar. 10,35.... 63. 

Scarlet Letter, The (A) 501 ...Colleen Moore-Hardie Albright- 

Henry B. Walthall Sept. 

.Larry "Buster" Crabbe - Isabel 

Jewell - Sally Blane Sept. 

Coming Attractions 

Mutiny Ahead Neil 

(See "In the Cutting Room," 

She Had to Choose (G) 504. 



.July 14 
.Aug. II 

Hamilton-Kathleen Burke. 
Jan. 26,'35.) 



Running Time 
Rel. Date Minutes Reviewed 

...Ben Lion-Sari Maritza Oct. 1 • m';*; 24 

...Ken Maynard-Evalyn Knapp Nov. 5 ' ' Bee' 22 

..Erin O'Brien-Moore-R. Morgan.. Dec. 4 7^....uec. 

u„». .u„a.» .... V- Clyde Beatty June 13 68 

Marines Are Coming. The William Haines-Armida .•■ 

marines «re, Conrad Nagel-Esther Ralston. . .Nov. 20.. 

.Sept. 2... 



Crimson Romance (A). 
In Old Santa Fe (G). 

Little Men (G) 

Lost Jungle, The (G). 

70 Dec. 15 

68... Sept. 8 

Running Time 
Rel. Date Minutes Reviewed 

Young and Beautiful (A) William Haines-Judith Allen. 

Coming Attractions 

Behind the Green Lights Norman Foster-Judith Allen. 



After"^ Office Hours (G) C. BennVciark Gable ■ ■ F«b"lV35- • • • 

Babes irToyland G ..Laurel and Hardy-C. Henry. Nov. 30 79... Nov. 

larretts of Wimpole Street (A). Norma Shearer-Charles Laugh- 

ton-Fredric March Sept. 

Band Plays On, The (G) Robt. Young-Betty Furness Dec. 

Biograpliy of a Bachelor ^ „„ntBomery-Ann Harding. .. .Jan. 

rha ned (A) Joa" Crawford -Clark Gable Aug. 

'D'a^v'iS'''coipe^rf,eld (G) ' ^-l^-'-V. '^"^e^r^L. 

Barrymore-Edna M. Oliver. ... Jan. 

Death on the Diamond (G)... Robert Young-Madge Evans Sept. 

Evelyn Prentice (A) William Powell-MY"a LWj- -- Nov. 

Forsaking All Others (A Joan Crawford - Clark Gable - 

^u.^a.^...■l Robert Montgomery Dec. 

Gav Bride The (A) Carole Lombard-Chester Morris. .. Dec. 

Havp a Heart (G) Jean Parker - James Dunn - 

Have a Heart (b) ^^^^^^ ^^^.^ ^^^^ Merkel . . . .Sept. 

Merry Widow, The (A) Maurice Chevalier-J MacDonald . . Nov. 

Night Is Young, The (G) Ramon Novarro-Evelyn Laye ...Jan. 

Outcast Ladv (A) Constance Bennett - Herbert 

outcast uany («) Marshall - Hugh Williams Sept. 

Painted Veil, The (A) Greta Garbo-Herbert Marshall- 

George Brent Nov. 

Sequoia (G) Jean Parker-Russell Hardie Feb. 

Shadow of Doubt (G) Ricardo Cortez-Virginia Bruce... Feb. 

Society Doctor Chester Morris-V. Bruce Jan. 

(Reviewed under the title "Only 8 Hours") x „ ^ 

Student Tour (G) Charles Butferworth-J. Durante. .Oct. 

Treasure Island (G) Wallace Beery-Jackie Cooper. . 

Lionel Barrymore-Otto Kruger ..Aug. 
Vanessa: Her Love Story (A). .Helen Hayes-Robert Montgomery .. Mar. 
What Every Woman Knows (G). Helen Hayes-Brian Aherne ..Oct. 

Wicked Woman (A) Mady Christians-Chas. Bickford . .Dec. 

Winning Ticket. The (G) Leo Carrillo-L. Fazenda Feb. 

Coming Attractions 

Age of Indiscretion May Robson-Madge Evans , 

Baby Face Harrington Charles Butterworth ........ ...Apr. 19, 35 

(See "Public Enemy No. 2" "In the Cutting Room,' Mar. 2,35.) 

Casino Murder Case Paul Lukas • •■• Mf". 15, 3S 

(See "In the Cutting Room," Feb. 16, 35.) 

China Seas Wallace Beery-Clark Gable 

Mark of the Vampire Lionel garrymore . . . . . . . Apr. 35. .. ........... •■■ 

Naughty Marietta (G) J. MacDonald-Nelson Eddy Mar. 29, 35. ... 80. Mar. 2,35 


...Aug. 4 



...Dec. 29 


. . . 84 . 

...Dec. 29 



...Sept. 1 

I8,'35. . 


Jan. 19. '35 



...Sept. 29 



...Nov. 3 



...Dec. 8 


. ..82. 

...Nov. 17 


. . . 82 . 

...Oct. 27 

2 . . . 


...Sept. 8 

II, '35.. 

. . .82. 

...Dec. 29 


. . .79. 

...Sept. 8 



...Nov. 10 


. . .72. 

...Nov. 17 



Feb. 9,'35 


. ..68. 

Jan. 12,'35 



...Nov. 10 

1 10 

July 14 

I,'35. . 


Feb. 23,'35 


. . .92. 

...Oct. 13 


. . .74 

Dec. 1 


. . .70 

Jan. I9,'35 

Running Time 

Title Star Rel. Date Minutes Reviewed 

Order Please Franchot Tone-Una Merkel Apr. 26, '35 

Reckless Jean Harlow-Wm. Powell ..Apr. 19, '35 

(See "In the Cutting Room," Feb. 16. '35.) 

Times Square Lady (G) Robert Taylor- Virginia Bruce .... Mar. 8,'35 69. Mar. 2,'35 

Typee Mala, Lotus Long 

Vagabond Lady Robert Young-Evelyn Venable 

West Point of the Air Wallace Beery-Robert Young Mar. 22,'35 89 

(See "In the Cutting Room," Feb. 2,'35.) 




Flirting With Danger (G) 3023 
Girl of the Limberlost (G) 


Girl 0' My Dreams (G) 3015. 

Happy Landing (G) 3029 

Lawless Frontier (G) 3035 

Lost in the Stratosphere (G) 


Man from Utah, The (G) 2044 
Million Dollar Baby (G) 

Monte Carlo Nights (A) 2024. 
Mysterious Mr. Wong, The 

(A) 3022 

'Neath Arizona Skies (G) 3032 

Redhead (A) 3012 

Sing Sing Nights (A) 

Star Packer, The (G) 2041... 
Successful Failure, A (G) 3024 

Texas Terror 

Tomorrow's Youth 3021 

Trail Beyond, The (G) 3031 . . 
Women Must Dress (G) 


Robert Armstrong-Marion Burns 

Running Time 
Rel. Date Minutes Reviewed 
.Dec. I 70 Nov. 17 

Marian Marsh-Ralph Morgan ..... Oct. 15. 

Mary Carlisle-Creighton Chaney..Nov. 17. 

Ray Walker-Jacqueline Wells. .. .Sept. I. 

John Wayne-Sheila Terry ..Nov. 22. 

June Collyer-William Cagney. . . . Nov. 15. 

John Wayne May 15. 

Arline Judge - Ray Walker - 

Jimmy Fay Jan. 

Mary Brian-John Darrow May 

...86 Sept. I 

...65 Nov. 16 

...63 Aug. 4 

...54. Feb. 2,'35 

.Oct. 27 

. .55. . 

Bela Lugosi-Wallace Ford Jan. 

John Wayne-Sheila Terry Dec. 

Bruce Cabot-Grace Bradley Nov. 

Conway Tearle-Mary Doran Dec. 

John Wayne-Verna Hillie July 

Wm. Collier, St. - Lucille 

Gleason Oct. 

John Wayne Feb. 

Dickie Moore - Martha Sleeper - 

John Miljan-Gloria Shea Sept. 15 ... 

John Wayne-Verna Hillie Oct. 22 

Minna Gombell-Gavin Gordon .... Feb. I, '35. 

I5,'35 65 Dec. 20 

20 62 

25, '35 68. Jan. I9,'35 

5 52 Dec. IS 

I 76 Sept. 22 

15 60. Feb. 2,'35 

30 54 



.51 . 



.55 Sept. 22 

.77. Jan. 26,'35 

Coming Attractions 

Cheers of the Crowd 

Dawn Rider, The John Wayne 

Desert Trail John Wayne-Mary Kornman Apr. 22, '35 

(See "In the Cutting Room," Feb. 23. 35.) 

Great God Gold Sidney Blackmer-Gloria Shea.... Apr. 15, '35 

(See "In the Cutting Room," Dec. 15.) 

Healer, The 

Honeymoon Limited 

Hoosier Schoolmaster. The Charlotte Henry-Norman Foster 

Keeper of the Bees, The 

Mystery Man (G) Robert Armstrong Apr. 2S,'35 62. Feb. I6,'35 

Nut Farm, The (G) Wallace Ford Mar. 25, '35 65. Feb. 9,'35 

Rainbow Valley John Wayne-Lucille Brown Mar. 15, '35 52 

Reckless Romeos 3019 Robt. Armstrong-Wm. Cagney 




All the King's Horses (G) 3430. 
Behold My Wife (A) 3419.... 
Belle of the Nineties (A) 3353. 

Car 99 (G) 3432 

Cleopatra (A) 3410 



College Rhythm (G) 3417.... 

Enter Madame (A) 3414 

Father Brown, Detective (G) 

Gilded Lily, The (G) 3426... 
Here Is My Heart (G) 3423.. 
Home on the Range (G) 3421. 

It's a Gift (G) 3418 

Limehouse Blues (A) 3415.... 
Lives of a Bengal Lancer (G) 


Menace (A) 3413 

Mrs. Wiggs of the Cabbage 

Patch (G) 3407 

Mary Ellis-Carl Brisson Feb. 

Sylvia Sidney-Gene Raymond Dec. 

Mae West Sept. 

Fred MacMurray-Ann Sheridan ... Mar. 
Claudette Colbert - Henry Wil- 

coxon-Warren William Oct. 

Joe Penner-Lanny Ross Nov. 

Elissa Landi-Cary Grant Jan. 

Walter Connolly-Paul Lukas- 

Gertrude Michael Dec. 

C. Colbert-Fred MacMurray Jan. 

Ring Crosby-Kitty Carlisle Dec. 

Jackie Coogan- Randolph Scott. ... Dec. 

W. C. Fields-Baby LeRoy Nov. 

George Raft-Jean Parker Nov. 

.Gary Cooper- Franchot Tone Jan. 

Paul Cavanagh Oct. 

. Pauline Lord - W. C. Fields - 
Zasu Pitts - Kent Taylor - 

Evelyn Venable Oct. 

.Joe Morrison-Helen Twelvetrees . . Dec. 
.Arthur Byron-Janet Beecher Jan. 

.Francis Lederer-Joan Bennett. ... Nov. 

.Richard Arlen-lda Lupine Oct. 

. R. Scott-Chas. "Chic" Sale Feb. 

' "In the Cutting Room," Nov. 10.) 

.George Raft-Carole Lombard Feb. 

Gary Grant-Myrna Ley Feb. 

Running Time 
Date Minutes Reviewed 
22,'35. . ..♦85.Feb. 23,'35 

7 79. Feb. 23,'35 

21 75 Aug. 25 

l,'35....*75.Feb. I6,'35 



4,'35. . 

.101 Aug. 25 

.*83 Nov. ID 

..83 Nov. 8 

21 *65 Dec. I 

25. '35 *80.Jan. 5,'35 

25 76 Dec. 8 

21 55 Mar. 2,'35 

30 68 Nov. 24 

9 66 Dec. 22 

18. '35 89. Jan. 5, '35 

26 58. ...Oct. 13 

19 73. 

14 75. 

1 l,'35 83. 

..Aug. 23 
. . Dec. 8 
..Nov. 24 








I,'35. . . 

.75. Jan. 


One Hour Late (G) 3422 

President Vanishes (G) 3416. 
Pursuit of Happiness, The 

(A) 3409 

Ready for Love (G) 3412 

Rocky Mountain Mystery 3428 
(See "Vanishing Pioneer'' 

Rumba (A) 3429 

Wings in the Dark (G) 3424. 

Coming Attractions 

Crusades, The Loretta Young-Henry Wilcoxon 

Devil Is a Woman, The (A) . . . Marlene Dietrich-Cesar Romero. .Apr. 15, '35 *90.Mar. 2,'35 

Four Hours To Kill Richard Barthelmess 

(See "In the Cutting Room." Feb. 23,'35.) 

Glass Key, The George Raft 

Hold 'Em Yale Patricia Ellis-Larry Crabbe 

(See "In the Cutting Room," Feb. 16, '35.) 
How Am I Coin'? Mae West 

(See "In the Cutting Room," Feb. 23, '35.) 
Love in Bloom 3434 Joe Morrison-Dixie Lee Mar. 15, '35 

(See "Win or Lose" "In the Cutting Room," Jan. 12, '35.) 
McFadden's Flats Betty Furness-Richard Cromwell. .Apr. 22, '35 

(See "In the Cutting Room," Jan. 26, '35.) 

Milky Way, The Jack Oakie-Adolphe Menjou 

Mississippi (G) 3433 Ring Crosby-Joan Bennett Mar. 29,'35 *80.Mar. 2,'35 

Once in a Blue Moon 3425....). Savo-Michael Dalmatoff Mar. 22, '35 

Paris in Spring Tullio Carminati-Mary Ellis 

(See "In the Cuttinq Room."^ Feb. 23,'35.) 

People Will Talk Chas. Ruggles-Mary Boland 

Private Worlds 3435 C. Colbert-J. Bennett-C. Boyer .Mar. 22,'35 

(See "In the Cutting Room." Mar. 2, '35.) 
Ruggles of Red Gap (G) 3431. Charles Laughton-Mary-Poland- 

Charles Ruggles-Zazu Pitts Mar. 8,'35 *90.Feb, I6,'35 

Stolen Harmony George Raft Apr. 29,'35 

(See "In the Cutting Room," Feb. 2,'35.) 


Features Running Time 

Title Star Rel. Date Minutes Reviewed 

Little Damozel 722 Anna Neagle-James Ronnie ..June II 59 

Peck's Bad Boy (G) Jackie Cooper-Thomas Meighan- 

Dorothy Peterson-Jackie SearL.Oct. 19 70 ... Sept. 8 

Return of Chandu, The (G) 
300-312 Bela Lugosi-Maria Alba Oct. 1 65 



March 9 . 1935 





Adventure Girl (G) 4148 

Aje of Innocence, The (A) 503. 
Anne of Green Gables (G) 507, 

By Your Leave (A) 509 

Captain Hurricane (G) 

Dangerous Corner (A) 506 

Enchanted April, The (A) 

Gay Divorcee, The (G) 505 ... 


Grand Old Girl (G) 519 

Gridiron Flash (G) 511 

Kentucky Kernels (G) 508 

Lightning Strikes Twice (G) 


Little Minister (G) 512 

Murder on a Honeymoon (G).. 

Red Morning (A) 515 

(See ■ Girl of the Islands 
Romance in Manhattan (G) 518. 

Silver Streak, The (G) 513 

Wednesday's Child (G) 510... 

West of the Pecos (G) 516 

Woman in the Dark (G) 

Coming Attractions 

Star Rel. 

Joan Lowell Aug. 

Irene Dunne-John Boles Sept, 

Anne Shirley-Tom Brown Nov. 

Genevieve Tobin-Frank Morgan ... Nov. 

James Barton-Helen Westley Mar. 

Melvyn Douglas- Virginia Bruce- 
Conrad Nagel Oct. 

Ann Harding-Frank Morgan Feb. 

Fred Astaire-Ginger Rogers Oct. 

Adrienne Ames-Ralph Bellamy. .. Feb. 

May Robson-Hale Hamilton Jan. 

Eddie Quillan-Betty Furness Oct. 

Wheeler & Woolsey Nov. 

Ben Lyon-Pert Kelton Dec. 

Katharine Hepburn-John Beal . . . . Dec. 

Edna May Oliver-J. Gleason Feb. 

Steffi Duna-Regis Toomey Dec. 

," "In the Cutting Room," Sept. 
Francis Lederer-Ginger Rogers. . Jan. 

Sally Blane-Charles Starrett Dec. 

Karen Morley-Edward Arnold .... Oct. 

Richard Dix-Martha Sleeper Jan. 

Fay Wray-Ralph Bellamy Nov. 

Running Time 
Date Minutes Pev'cw- ( 

17 76 Aug. 25 

14 82 Sept. 8 

23 79.... Oct. 27 

9 '80 Oct. e 

1,'35 72 . Feb. 16/35 

5 67. Jan. 18,'35 

1,'35....*78 Dec. 15 

19 "107. ...Oct. 13 

15, '35 

18, '35 72. Jan. I2,'35 

26 64. Jan. 26, '35 

2 75 Oct. 27 

7 66. Mar. 2,'35 

28 110 Dec. 22 

22,'35... 731/2. Feb. 2,'35 

14 66 


ll.'35 78 Dec. I 

21 72... Dec. 8 

26 69 Sept. 29 

4,'35 69. Jan. 5, '35 

9 70 Dec. 8 

Becky Sharp Miriam Hopkins 

Break of Hearts K. Hepburn-Charles Boyer 

Dog of Flanders (G) Frankie Thomas-Helen Parrish . . . Mar. 22,'35. . . . 72. Mar. 2, 3o 

Laddie John Beal-Gloria Stuart Mar. 29,'35 

(See ■in the Cutting Room," Feb. 2,'35.) 

Informer, The Victor McLaglen-Margot Graham 

People's Enemy Preston Foster-Melvyn Douglas. . . Mar. 15, '35 

Roberta (G) Irene Dunne - Fred Astaire - 

Ginger Rogers Mar. 8,'35... lOSi/jFeb. 23. '35 

Star of Midnight William Powell-Ginger Rogers 

(See "In the Cutting Room," Feb. 23, '35.) 
Strangers All May Robson ■ 

(See ' In the Cutting Room," Feb. 23, '35.) 
Sylvestre Bonnard Anne Shirley 

(See ■■In the Cuttin" Room." Mar. 2,'35.) 
Village Tale Randolph Scott-Kay Johnson 

(See '■In the Cutting Room." Mar. 2.'35.) 



Title Star 
Are You a Mason? ( A) . . . . Sonnie Hales.... 

Battle. The Charles Boyer- 

Merle Oberon 

Calling All Cars (G) Jack LaRue 

Cowboy Holiday (G) Big Boy Williams 

Deserter. The (A) Boris Livanov ... 

Dealers in Death (A) 

Life in the Congo (G) 

Lost City, The Wm. Boyd - Claudia 


Loyalties Basil Rathbone 

Man of Courage (G) 

Norah O'Neale Lester Mathews 

Maryjka Ina Benita .... 

Ticket to a Crime (G) Ralph Graves .. 

War Is a Racket (A) 

Woman Condemned Slaudia Dell .. 

Running Time 
Dist'r R«l- Date Minutes Reviewed 
M. J. Kandel Oct. 29 85. .. Nov. 3 


Empire Films . . . .Jan. 

Syndicate Jan. 

Garrison Film . . . .Oct. 
Topical Films .... Dec. 
Kinematrade Nov. 

12 75 Dec. 1 

25. '35. . .67. Jan. 26. '35 
1, '35 . . .57. Jan. 26, '35 

12 105 Oct. 27 

13 68 Dec. 22 

29 60 Dec. 29 

Regal Pictures ... Feb. (4. '35. 

Harold Auten Oct. 24 

Eureka Nov. 12 

Oct. 24 

Principal Film . . . Dec. I 

Syndicate Dec. 15 

Eureka Prod Dec. 8 

Marcy Pictures.. ..Apr. 4.... 

.74. . 

. . Nov. 


95. . 

. . Nov. 


66. . 

. . Nov. 


65. . 

. . Dec. 



. . Dec. 


.68. . 

. . Dec. 


65 . 




Clive of India (G) 

Count of Monte Cristo. The (G) 

Folies Bergere (G) 

Kid Millions (G) 

Last Gentleman, The (G) . 
Mighty Barnum. The (G). 

Our Daily Bread (G) 

Private Life of Don Juan, The. 

Runaway Queen 

Scarlet Pimpernel, The (G)... 
Transatlantic Merry-Go-Round 

We Live Again (A) 

Star Rel. 
Ronald Colman-Loretta Young... Jan. 

Robert Donat-Elissa Landi Sept. 

Maurice Chevalier-Merle Oberon. .Mar. 
Eddie Cantor - Ann Sothern - 

Ethel Merman Dec. 

George Arfiss Sept. 

Wallace Beery - Adolphe Men- 
jou-Janet Beecher-V. Bruce.. ..Dec. 

Karen Morley-Tom Keene Sept. 

Douglas Fairbanks, Sr. - Merle 

Oberon Nov. 

Anna Neagle-Fernand Graavey. . . Dec. 
Leslie Howard-Merle Oberon Feb. 

Gene Raymond-Nancy Carroll- 
Sydney Howard-Jack Benny . Nov. 
Anna Sten-Fredric March Nov. 

Running Time 
Date Minutes Reviewed 
25,'35. . . . 90. Jan. 26,'35 

7 113 Sept. 8 

8, '35 85. Feb. 23. '35 

21 . 

. .72. 


. .74. 

21 . 

.Oct. 27 

..May 12 

. Dec. I 

.Aug. 18 

.Sept. 22 

15, '35 95. Jan. 26, '35 

■ m 



'•2 Nov. 17 

83 Sept. 29 

Coming Attractions 

Brewster's Millions Jack Buchanan-Lili Damita 

Call of the Wild, The C. Gable-Loretta Young May 6, '35 

(See ' In the Cutting Room," Mar. 2/35.) 

Cardinal Richelieu George Arliss Apr. 21, '35 

Congo Raid Leslie Banks - Paul Robeson - 

Nina Mae MacKinney , 

Les Miserables Fredric March-C. Laughton Mar. 22, '35 

(See "In the Cutting Room," Mar. 2, '35.) 

Nell Gwyn (A.) Anna Neagle-Cedric Hardwicke . . Apr. 5,'35 75. July 14, '35 

Wedding Night, The (G) Anna Sten-Gary Cooper Mar. 8,'35... *90.Feb. 23,'35 


Running Time 

Star Rel. Date Minutes Reviewed 
Cesar Romero-Fay Wray Nov. 5 67. 



Cheating Cheaters (G) 8022 
Embarrassing Moments (G) 

7023 Chester Morris-Marian Nixon .... July 

Crimson Trail, The 8083 Buck Jones ... Feb 

Gift of Gab (G) 8030 Edmund Lowe - Gloria Stuart-" 

Alice White Sept 

Good Fairy. The (G) 8003 Margaret Suliavan-H. Marshall .Feb 

Great Expectations (G) 8029. . Henry Hull-Jane Wyatt-Phillips 

, . Holmes Oct. 

Imitation of Life (G) 7003 Claudette Colbert-W. William.. Nov 

I've Been Around (A) 8025 Chester Morris Dec. 

Man Who Reclaimed His Head 

8028 Claude Rains-Joan Bennett Dec. 

Million Dollar Ransome (A) 

8014 Mary Carlisle-Edward Arnold- 

... , .-J . Phillips Holmes Sept. 

Mystery of Edwin Drood 8024. .Claude Rains-Heather Angel... Feb 
(See "In the Cutting Room." Dec. 15.) 

9 67. 

I8,'35 58. 

. Dec. 29 
Oct. 6 

24 *7I....Sepl. 

18,'35 98. Feb. 9. 


. 102. . 

.*75. . 

. . Oct. 
. . Dee. 
. . Dee. 

. . Dec. 



4. '35. 

67. . 

.Sept. 29 

Title Star Rel. 

Night Life of the Gods (G) 

8008 Alan Mowbray Mar. 

Notorious Gentleman, A 8032 .. Charles Bickford-Helen Vinson ... Jan. 
One Exciting Adventure (G) 

8027 Binnie Barnes-Neil Hamilton.. .Oct. 

Rendezvous at Midnight (A) 

8031 Ralph Bellamy Feb. 

(See "In the Cutting Room," Nov. 17.) 

Secret of the Chateau (G) 8033. Claire Dodd-Clark Williams Dec. 

Straight from the Heart (A) 

8036 Mary Astor-Roger Pryor-Baby 

Jane Jan. 

Strange Wives (G) 8020 June Clayworth- Roger Pryor Dec. 

Rocky Rhodes (G) 8001 Buck Jones-Sheila Terry Sept. 

There's Always Tomorrow (A) 

8035 Frank Morgan-Elizabeth Young- 
Lois Wilson-Binnie Barnes Sept. 

Wake Up and Dream (G) 8021 . Russ Columbo - June Knight Oct. 

When a Man Sees Red (G) 8082.i.uck Jones Nov. 

Running Time 
Date Minutes Reviewed 

1 1. '35. 
21. '35. 

. 75. Jan. 


15. . . 
1 1. '35 

3 69 . 

73.... Oct. 

Sept. 15 

14,'3S. . . *68. Feb. 16, '35 

10 75 Dec. 8 

24 60 Dec. 22 

10 87 Nov. 17 

1 78 Oct. 20 

12 60. Jan. 26/35 

Coming Attractions 

Bride of Frankenstein 8009. . . Boris Karloff Apr. 8,'35 

(See "In the Cutting Room." Feb. 16, '35.) 

Great Ziegfeld, The 8005 William Powell-Fanny Brice 

It Happened in New York 8023. Lyle Talbot-Heather Angel Mar. 18.'35 

(See "In the Cutting Room," Jan. 26, '35.) 

Life Returns (G) Onslow Stevens-Lois Wilson 'OO.Jan. I2,'35 

Mister Dynamite 8012 Edmund Lowe-Esther Ralston. .. Apr. 15. '35 

Princess O'Hara 8013 Jean Parker-Chester Morris Mar. 25, '35 

(See "In the Cutting Room," Jan, 26,'35) 

Stone of Silver Creek Buck Jones-Noel Francis Apr, 15, '35 

Sing Me a Love Song 8026 

Transient Lady (G) 8019 Gene Raymond-Henry Hull Mar. 4,'35 

Werewolf of London, The 8015 . Henry Hull Apr. 29/35 

(See "In the Cutting Room," Mar. 2,'35.) 



Title Star Rel. 

Big-Hearted Herbert (G) 830 . Guy Kibbee-Aline MacMahon . . . . Oct. 

Bordertown (A) 806 Paul Muni-Bette Davis Jan. 

Case of the Howling Dog, TheWarrcn William-Mary Astor Sept. 

Church Mouse 881 Laura La Plante Dec. 

Devil Dogs of the Air (G) 816. James Cagney-Pat O'Brien Feb. 

Firebird, The (A) 825 Verree Teasdale-Ricardo Cortez. Nov. 

Housewife (A) 478 George Brent-Bette Davis Aug. 

I Am a Thief (G) 826 Mary Astor-Ricardo Cortez Nov. 

Kansas City Princess (G) 819. Joan Blondell-Glenda Farrell Oct. 

Madame Du Barry (A) 452. ... Dolores Del Rio- Victor Jory Oct. 

Right to Live (A) 828 George Brent-J. Hutchinson Jan. 

St. Louis Kid, The (G) 817... James Cagney Nov. 

(Reviewed under the title, ■■A Perfect Week-End") 

Secret Bride, The (G) 811 B. Stanwyck- Warren William .... Dec. 

Sweet Adeline (G) 802 Irene Dunne-Donald Woods Dec. 

Sweet Music (G) 805 Rudy Vallee-Ann Dvorak Feb. 

White Cockatoo (G) 827 Jean Muir-Ricardo Cortez Jan. 

Running Time 
Date Minutes Reviewed 

6 *60 Aua. 25 

5,'35 90. Feb. 2/35 

22 75. ...Sept. I 


9, '35 86. Feb. 9/35 

1 1 . 



. .64. 
. .77. 



26, '35 66. Feb. 23/35 

10 67 Oct. 20 

22 64. Feb. 9/35 

29 ^82 Dee. 15 

23. '35 95. Mar. 2,'35 

I9,'35... .70. Jan. 26/35 

Coming Attractions 

Broadway Gondolier 


Farrell Case, The 

Florentine Dagger, The 829.. 

(See "In the Cutting Room 

Goose and the Gander 

Green Cat 


Irish in Us, The 

Midsummer Nights Dream.... 

Money Man 

Night at the Ritz, A 823 

(See ■'King of the Ritz," 

Page Miss Glory 

Present from Margate, A 


Dick Powell-Joan Blondell 

Jackie Cooper-Mary Astor 

James Cagney-Margaret Lindsay 

Donald Woods-Margaret Lindsay .. Mar. 30, '35. 
." Jan. 26, '35) 

Kay Francis-George Brent 

i.ette Davis 

George Brent-Jean Muir 

James Cagney-Pat O'Brien 

All Star 

Edw. G. Robinson-Bette Davis 

William Gargan-Patricia Ellis. ..Mar. 23,'35. 

■ In the Cuting Room," Jan. 26, 35) 

Marion Davies 

Kay Francis-Ian Hunter 

Kay Francis-Geo. Brent 




Bella Donna (A) . . . . 
Broken Melody, The. 

68 Dec. I 

"'I. Jan. 26/35 




. Dec. 

Running Time 

Star Dist'r Rel. Date Minutes Reviewed 

.Mary Ellis Gaumont-British 85. Jan. 5/35 

John Garrick- 

Merle Oberon Oct. 30 

Chapayev (A) Amkino Jan. I2,'35. 

Cornflower Irene Agai Danubia Pictures. .Jan. 1 1, '35. 

(Hungarian Dialogue) 

Czar Wants to Sleep (A)..M. Yanshin Amkino Dec. 8 

Death at Broadcasting 

House Ian Hunter ABFD British 90. 

Dirty Work (G) Ralph Lynn Gaumont-British SO. 

Forbidden Territory, The. Gregory Ratoff Gaumont-British f7. 

Doctor's Orders Leslie Fuller British Int'l 75. 

Everything for the Women. Tiber Von Halmay . Danubia Pictures .Oct. 10 64. 

(Hungarian Dialogue) 

Fathers Knows Best azoke Szakail Danubia Pictures. .Jan. 18, '35. .80. 

(Hungarian Dialogue) 

Green Pack John Stuart British Lion ... 

House of Greed V. Gardin Amkino 

Lady in Danger (A) Tom Walls Gaumont-British 

Lorna Doone (G) John Loder ABFD British. 

Madame Bovary (A) Pierre Renoir John Tapernoux 

.Aug. 11. 

Nw. 3 


63 ..Dec. 29 
.80. Feb. 2,'35 

no Dee. 8 



Nov. 10 

Aug. 26 79 

, . . .Nov. 17. 

Marionettes L. Leonidoff Amkino May 5. 

Miracles V. Gardin Amkino Oct. 19. 

Mister Cinders Clifford Mollison ...British Int'l 

My Wife the Miss Irene Agai - Paul 

(Hungarian Dialogue) Javor Danubia Pictures 

My Song Goes Round the 

World (G) John Loder Oct. 20 

Old Curiosity Shop Elaine Benson Assoc. British B5.Feb. 2/35 

One Night Ingert Bluggren Scandinavian 80. Feb. 9/35 

Petersburg Nights (A) . . . . B. Dobron Ravov. .. Amkino Sept. 8 97... Sept. 27 

~ " .Gordon Harker Gaumont-British 75. Feb. 9,'35 

.Will Hay - Helen 

Chandler Assoc. British "S.Jan. 12/35 

Rakoczi March Paul Javor Danubia Pictures . Nov. 12 89 

Phantom Light, The (G). 
Radio Parade of 1935. 

(Hungarian Dialogue) 

Shepherdess' Sweetheart ..(Greek Feature) 

Stila Biolanti (Greek Feature) 

Sufti Is Life (Greek Feature) 

Ta^Galazia Keria (Greek Feature) 

Ten Minute Alibi (A) Phillips Holmes 

. Frank Norton 
. Frank Norton 
. Frank Norton 
. Frank Norton 
.British Lion.. 

Three Songs About Lenin.. Amkino 

They Are Looking Up (G). Cicely Courtneidge .Gaumont-British 

Thunderstorm (A) A. K. Tarasova ....Amkino 

Waltz Time in Vienna Renate Mueller Ufa 

Victor and Victoria (G)... Renate Mueller Ufa Jan. 

. Feb. 


. . Oct. 


. . . Jan. 


. . Oct. 





75 Dee. 29 





80. Feb. 9/35 
64....M8». 17 
PI . Feb. 9/3S 
.80.... Oct. 5 

Dec. I 

.84. Feb. 2/35 

Wandering Jew, The (A).. Conrad Veldt Olympic Pictures 83. Jan. 19/35 

WILL IT BE a bull's-eye? Of that the producers of THE 
MARCH OF TIME cannot be sure. No one can. 
But of this much MARCH OF TIME's editors can be 
sure — are sure: the new release of THE MARCH OF 
TIME is better than the first. 

They have done much to tighten up this month's new 
MARCH OF TIME. They have made it crisper, faster, 
cleaner. The rushes more than fulfill promise of that. 

It is MARCH OF TIME's determination to make each 
new release a more complete, a more skillful "News- 

magazine of the Screen." 


For the second release of THE MARCH OF TIME— a national 
advertising campaign even stronger than last month's! Advertise- 
ments in TIME and FORTUNE to a combined audience of more 
than 2,548,000 — advertisements in 109 local newspapers to an 
additional 17,747,284 — spot radio advertising in 38 cities to 
20,842,444 — and a dramatic 24-sheet campaign in 37 cities to an 
audience estimated at 25,095,129 daily! AH of this advertising will 
bring customers to theatres showing the new release of THE 

Released by Fl RST DIVISION— Harry H. Thomas, Pres., Radio City, N. Y. 





March 9, 1935 



lAll dates are 1934 unless 
otherwise stated"] 


Title Rel. Date 


Jack and the Beanstalk 

The Little Red Hen 

The Brave Tin Soldier 

Puss in Boots 

The Queens of Hearts.... 


The Headless Horsemen... 

The Valiant Tailor 

Don Quixote 

Jack Frost 

Little Black Sambo 

Bremen Town Musicians.. 

Old Mother Hubbard 

Mary's Little Lamb 



Jan. 2 8... 

Feb. 16 7... 

Apr. 7 7... 

May 17 I rl. 

June 25 7. . . 

Aug. 10 7... 

Oct. I I rl. 

Oct. 29 I rl. 

Nov. 28 8... 

Dec. 24 8... 

Jan. 21. '35. . I rl. 
Feb. I7,'35..l rl. 
.Mar. I7,'35..l rl. 
Apr. I4,'35. . I rl. 

Title Rel. 

His Bridal Sweet 

Harry Langdon 
His Old Flame Jan. 

Charlie Murray 
Horse Collars Jan. 

(3 Stooges) 
I'm a Father Feb. 

Andy Clyde 
In the Dog House Dec. 

Andy Clyde 
It's the Cat's Oct. 

Andy Clyde 
Men in Black Sept 

(3 Stooges) 
One Too Many Dec. 

Leon Errol 
Perfectly Mismated Nov. 

Leon Errol 
Restless Knights Feb. 

(3 Stooges) 
Shivers Dec. 

Harry Langdon 
Three Little Pigskins Dec. 

(Stooge Comedy) 



A Cat. a Bell and Mouse 

Babes at Sea Dec. 

Holiday Land Nov. 

Make Believe Revue. The. .Mar. 
Shoemaker and the Elves... Jan. 



1. The Trapeze Artist Sept. 

2. Katnips of 1940 Oct. 

3. Krazy's Waterloo Nov. 

4. Birdman Feb. 

5. Hotcha Melody Mar. 

6. Goofy Gondolas Dec. 




Laughing with Medbury 

in the Arctics Sept. 

In Maylesia Oct. 

Among the Caccons Nov. 

At a County Fair Dec. 

Medbury in Hollywood Jan. 

In the Old Days Feb. 





25. '35 
7. '35 

28. . . 
28. . . 
20. '35 
24. . . 


12. . . 
9. . . 
22, '35 




15. '35. 

.7. . . 




I — . 

2— . 

3— . 

4— . 

5— . 

6— . 

. Nov. 
. Dec. 
. Jan. 
. Feb. 


No. 7 — Tripping Through 

the Tropics July 


Gloom Chasers, The Jan. 

Happy Butterfly Dec. 

Scrappy's Experiment 

Scrappy's Ghost 


Concert Kid Nov. 

Gold Getters Mar. 

Graduation Exercises 
I — 







No. I — 










I I. '35. 

28, '35. 












10.. . 
10. . . 

.2 ris. 

18. '35, 




.7. . 



. Nov. 
. Dec. 
. Jan. 
. Feb. 

. Dec. 
. Dec. 
■ Jan. 
. Mar. 

29. . . . 
26. . . . 
23 ... , 


18. '35. 
22, '35. 



31 ... . 
20, '35. 
I. '35. 


10. . , 


Anything for a Thrill 

Decks Awash Aug 

Heigh-Ho the Fox June 


Air Thrills Mar 

Good Golfers Start Young. . .Sept. 

Pardon My Grip Feb 

Pole Thrills Oct 

Thrill Flashes Dec 

When Men Fight Jan 

. I rl. 
.1 rl. 

I. '35. 

I. '35. 




10. ., 


Rel. Date 



1. Veiled Dancer of Eloued.July 15 

2. Vampire of Marrakesh.. .Aug. I 





. .8 


Title Rel. Date 


Bride of Samoa Mar. I... 

Chump Nov. I . . . 

Frankie and Johnny Oct. I... 

Charles Laughton 

Mire Unga Aug. 15. . . 

Prisoner Sept, 15. . . 

Retribution of Clyde Bar- 
row and Bonnie Parker. . .July 10.... 20 

Stars in the Making Oct. I.... (7.... 

Frank Albertson 

Sword of the Arab Sept. 15 28 

Duncan Renaldo 

Yokel Dog Makes Good Sept. 1 18 


[Distributed through Fox Films] 

Title Rel. Date Min. 

I — I Surrender Dear 

2 — One More Chance 

3 — Billboard Girl 

i — Dream House 


An Ear for Music 

Easy Money 

Hello. Sailors 

Rural Romeos 

Second Hand Husband... 

Two Lame Ducks 


Boosting Dad 

Campus Hoofer. The 

Educating Papa 

Little Big Top, The 



Domestic Bliss-Ters 

Dumb Luck 

How Am I Doing? 


Big Business 

Girl from Paradise. The... 
Good Luck — Best Wishes.. 

Nifty Nurses 

She's My Lilly 

Blue and the Gray. The... 

Bounding Main, The 

Gay Old Days 

House Where I Was Born. 


I Smell Smoke 

Mountain Melody 

Song Plugger 

Time on Their Hands 

Way Down Yonder 


Dog-Gone Babies 



Gentlemen of the Bar Dec. 28 18 

Hayseed Romance .Mar. 15,'35. .2 rIs. 

His Lucky Day Sept. 21 20 

Mr. Widget Jan. 25.'35.2I 

Object Not Matrimony Mar. I.'35..2rls. 

One-Run Elmer • Feb. 22. '35. 19 

Palooka From Paducah . . J""- 1 I. '35. 20 


Black Sheep, The Oct. 5 6 

Bull Fight, The Feb, 8,'35.,6 

Busted Blossoms .Aug. 10 6 

Dog Show, The Dec. 28 6 

Fireman Save My Child. . . ■ Feb- 22,'35. . I rl. . 

First Snow. The Jan. 1 1, '35.. 6 

Five Puplets May I7,'35. . I rl . . 

Flying Oil Apr. 5,'35..l rl . . 

Hot Sands • Nov. 2 6 

Jack's Shack Nov. 30 6 

Jail Birds Sept. 21 6 

Magic Fish. The Oct. 19 6 

Mice in Council Aug. 24 6 

Modern Red Riding Hood. 

A .May 3, '35.. I rl . 

Moth and the Spider. The. Mar. 8,'35..l rl . . 

My Lady's Garden July 13 8 

Old Dog Tray Mar. 21 ,'35. . I rl.. 

Peg Leg Pete, the Pirate. APr. 19,'35. . I rl. . 

South Pole or Bust Dec. 14 6 

Tom Tom the Piper's Son. Nov. 16 6 

What A Night Jan. 25,'35..6 

iVhy Mules Leave Home Sept. 7 6 


Wrong Bottle, The July 13.... 16 


Chums Mar. I, '35. .1 rl. . 

Harlem Harmony Dec. 21 10 

Hollywood Gad-About Oct. 5 9 

Hollywood Movie Parade. 

The Nov. 2 9 

Then Came the Yawn Aug. 10 8 

Your Stars for 1935 Oct. 19 II 


Moon Over Manhattan Feb. 15, '35. 17 

Three Cheers for Love Dec. 14.... 1 9 




31 ... 



5. . . 

21 . . 

Sept. 28. . . 



18. . 



18. . 

17. . . 

20. . 

16. . . 



26. . . 


14. . . 






21 . . 

9. . . 


2, . . 

16. . 



21 . . 


12. . . 




17. . 

. Jan. 

4, '35 


. Dec. 



. Nov. 

23. . . 

21 . . 

.Aug. 24. . . 







22. . 

. Mar. 


.1 rl 


16. . . 


■ Jan. 




26. . . 



12. '35 

.1 rl 


31 . . . 


. Jan. 




14. . . 

II .. 

. Dec. 




6. . . 

20. . 


. 10. 


1. In a Monastery Garden . Oct. 2 7 

2. Mexican Idyl Oct. 16 

3. Fingal's Cave Nov. 13 

4. Lieberstraum Nov. 3 

5. Dance of the Hours Dec. 15 

S. Ava Maria Jan. I, '35 

Barcarolle 8.... 

In a Mountain Pass 

Irish Melody 8.... 

Italian Caprice 8.... 

October Day 

Old Faithful Speaks 8 

Mediterranean Songs 


Title Rel. Date Min. 



Man's Mania for Speed 10.... 

Marching With Science 9.... 

On Foreign Service 9.... 

Casting for Luck 10.... 



The Coast of Catalonia 

Title Rel. Date Min. 

Picturesque PortLgal 9 

Crossroads of the World 9.... 

Geneva-By-The-Lake 10.... 

The Heart of Valeska Mar. 9 10 


Rel. Date 


Rel. Date 




1. Roosevelt Family in 

America II.... 

2. A Visit to West Point ID 

3. Carrie Jacobs Bond 9.... 


Fields and McHugh 9.... 

What's in a Name 8.... 

Irving Kaufman-Lew White 


Take a Letter Please 

Eddie Stanley- 
Evelyn San 


Title Rel. Date Min. 


Caretaker's Daughter Mar. 10 10.... 

Movie Daze 19..., 

Mrs. Barnacle Bill Apr. 21 20 


No. I — Buried Loot 19.... 


Chases of Pimple Street Dec. 22 20.... 

Fate's Fathead Nov. 17... 18 

I'll Take Vanilla May 5 19 

It Happened One Day July 7 ... 19 

Something Simple Sept. 8. ...18.... 

You Said a Hatful Oct. 13 19 


Ballad of Paducah Jail Oct. 

Nosed Out Sept. 

Speaking of Relations..... 

You Brings the Ducks Nov. 


Africa. Land of Contrast 

Citadels of the 


Colorful Ports of Call Jan. 

Cruising in the South Seas 

Glimpses of Erin 

Holland in Tulip Time Sept. 

Ireland. The Emerald Isle. Dec. 

Rainbow Canyon Feb. 

Switzerland, The Beautiful . Oct. 
Tibet, Land of Isolation .... Mar. 
Zeeland, The Hidden 

Paradise Jan. 

Zion, Canyon of Color Nov. 



.18. . 


15. . 

I rl. 

I rl. 
I rl. 
2,'35. .8. . . 

13 9... 

17 9... 

10 8.. 


. M ay 5 . . . 


No. 8 Oct. 

. Nov. 

No. 9 
No. 10 


1 — The Discontented Canary. Sept. 

2 — Old Pioneer Sept. 

3 — A Tale of the Vienna 
Woods Oct. 

4 — Bosco's Parlor Pranks. .. Nov. 

5 — Toyland Broadcast Dec. 

6 — Hey. Hey. Fever Jan. 

7 — When the Cat's Away.. Feb. 

8— The Lost Chick 



Going Bye-Bye 

Live Ghosts 

Them Thar Hills 

Tit for Tat Jan. 


Music in Your Hair June 

Roamin' Vandals Apr. 


Gentlemen of Polish 

Grandfather's Clock Oct. 

Spectacle Maker. The Sept. 

Star Night at the Cocoanut 

Grove Dec. 

What Price Jazz? 


Attention. Suckers! June 

Dartmouth Days Nov. 

Donkey Baseball 

Motorcycle Cossacks Jan. 

Little Feller May 

Old Shop June 

Pichlanni Troupe Sept. 

Pro Football 

Rugby Dec. 

Strikes and Spares Oct. 

Taking Care of Baby Aug. 

Trick Golf Mar. 

Vital Victuals Mar. 




Mama's Little Pirate Nov. 

Shrimps for a Day 

Mike Fright Aug, 

Wash-ee Iron-ee Sept, 


Bum Voyage Dec. 

Done in Oil Nov. 

I'll Be Suing You June 

Maid in Hollywood May 

One Horse Farmers Sept, 

Opened by Mistake Oct. 

Sing. Sister. Sing! 

Three Chumos Ahead 

Tin Man, The 

Treasure Blues 

I rl . 

8.. ..10... 

6 9... 

3 ...10... 





35. .9. . . 
35. .9... 
10. . . 




2 rIs. 




. ..2rls. 
. . 17 

. .20 





'35. .9. 

. .9. 
. .9. 
. 10. 
. .9. 












. .2 rIs. 





Cave Man 7.. 

Good Scout 7.. 

Insultin' the Sultan Apr. 14 8.. 

Jungle Jitters 7.. 

Raslin' Round 

Reducing Creme May 19 8.. 

Robin Hood. Jr Mar. 10 8.. 


Viva Willie 7.. 



10. Dravidian Glamour ....Sept. I. 

11. Adventure Isle Oct. 

12. Queen of the Indies Nov. 

13. A Mediterranean Mecca . Dec. 

I . 

1 . . 

I . 


Rel. Date 






15. '35. 
1 5. '35. 










Baby Be Good Jan. 

Betty Boon's Life Guard... July 

Betty Boop's Life Pal Sept. 

Betty Boop's Prize Show. ..Oct. 
Betty Boop's Rise to Fame. May 

Betty Boop's Trial June 

Stop That Noise Mar. 

Taking the Blame Feb. 

Keep in Style Nov. 

There's Something About a 

Soldier Aug, 

When My Ship Comes In... Dec. 


An Elephant Never Forgets. Dec. 28 7 

Little Dutch Mill Oct. 26 7... 

Poor Cinderella Aug. 3 7... 

Song of the Birds Mar. I. '35 

Cab Calloway's Hi-De-Ho. . .Aug. 
Feminine Rhythm Feb. 

Ina Ray Hutton and Her 

Club Continental Oct. 

Leon Belasco & Orchestra 

George Givet -Vivian Janis 

Grace Barry 
Hollywood Rhythm Nov. 

Gordon and Revel - Lyda 

Roberti - Jack Oakie-Nor- 

man Taurog-LeRoy Prinz- 

Edith and Bill Wilshire 
Ladies That Play Dec. 

Phil Spitalny and His 

Musical Ladies 

Melody Magic Mar. 

Million Dollar Notes Feb. 

Red Nichols and his World 

Famous Pennies 
Radio Announcer's Review. .Sept. 
Rhythm on the Roof Oct. 

Anson Weeks & Orchestra 

Society Notes Aug. 

Song Writers of the Gay 

Nineties Mar. 

Yacht Club Boys Garden 

Parly Dec. 

24. ...II... 
8,'35..l rl. 

5 10. 

16. ...10... 

7. ...10. 

22, '35.... 

14.. ..10. 

3. ...10. 


28. ...10. 

17. ...10. 

No. 1 — Song Makers of the. Aug. 
Nation — Chas. Tobias — 
Flowery Kingdom of 
America — The Windjam- 

No. 2 — The Big Harvest — .Sept. 

Geared Rhythm — Denys 

No. 3 — Bear Facts — The. Oct. 

Valley of Silence — Irving 


No. 4 — Tub Boat Ahoy — Hot . Nov. 
Dog — Mabel Wayne 

No. 5 — Rose of Bulgaria — .Dec. 
0. Soglow — Coney Island 

No. 6 — Twilight Melody — .Jan. 
Pets from the Wild- 
Howard Chandler Christy 


No. 7— Feb. 

No. 8— Mar. 

No. 9— Mar. 

Baby Blues Oct. 


Coo-Coo News Jan. 

Jungle Antics Feb. 

Madhouse Movies No. I.... Aug. 

Manhattan Rhythm Mar. 

Monkey Shines Nov. 

Movie Sideshow Jan. 

Nerve of Some Women, The. Nov. 

Old Kentucky Hounds Sept. 

Screen Souvenirs No. I Sept. 

Screen Souvenirs No. 2 Nov. 

Screen Souvenirs No. 3 Feb. 

Superstition of the Black 

Cat Aug. (0... 

Superstition of the Rabbit's 

Foot Mar. 22. '35 

Superstition of Three on 

a Match Oct. 19... 

Superstition of Walking 

Under a Ladder Dec. 28... 


A Dream Walking Sept. 28 

Axe Me Another Aug. 24 ' " 

Be Kind to Animals Feb. 22,'35 

Beware of Barnacle Bill... Jan. 25,'35' 

Dance Contest Nov. 23 

Shiver Me Timbers July 27 

Shoein' Hosses June I 

Strong to the Finich June 29 

Two Alarm Fire Oct. 26.! 

We Aim to Please Dec. 28..!! 


Love Thy Neighbor July 29 

Mary Small 


No. I 

No. 2 

No. 3 


14. ...10.. 


9. ...10 

7. ...10.... 

4,'35. 10 

29, '35. 

25, '35. 




II, '35. 




30. . . . 



. I rl. 



. I rl. 

I rl. 

.1 ri.. 



X X Because . . . That new- idea of 15 years ago is recognized today 
by every type of showman . . . from Class -A Circuits to the small- 
est 3-hundred-seater ... as the cheapest and best exploitation 
ever devised ^ * Because ... In the heat of the drive . . . when you 
need ideas most . . . you can count on the National Screen Trailer 
as the key-stone of your selling-campaign ^ ^ Because . . . That same 
"new-idea" organization which blazed new trails to theatre exploita- 
tion 15 years ago is now bigger . . , stronger . . . greater than ever 
. . . the Little Giant of this big industry . . . with eight great branches 
hooking service together from coast-to-coast . . . with more than 700 
employees thinking only of TRAILERS x ^ With special equipment 
. . . specialized brains ... an organization built from top to bottom 
for TRAILER SERVICE x x And today ... on our 15th Anniversary 
. . the roll-call of theatres using 




March 9 , 1935 

Title Rel- Oate 

Two Editions Weeldy 


No. I — Miles Per Hour Aug. 3... 

No 2 — Springboard Cham- 
pions Aug. 31 . . . 

No. 3— Water Rodeo Sept. 28... 

No. 4 — Keeping Time Oct. 26... 

No. 5 — Saddle Champs Nov. 30... 

No. 6 — A Sportlight Coclt- 
tail Dec. 28.. . 

No. 7— King of the Ever- 
B]a(le% J*"- 35 

No. 8— Feline Athletes Feb. 22. 35. 

Making the Rounds. July 6... 

New Dealers, The .Apr. 6... 

News Hounds .June 1 . . . 

No More Bridges Mar. 16... 

Leon Errol 
Oil s Well May 4... 

Chic Sale 

Old Bugler, The .Jan. 5 

Chic Sale 

Petting Preferred Apr. 27. . 

Pleased to Meet Cha! Mar. 22, 3o 

Sporting Sounds Mar. 22, 35 

Up and Down Mar. 2 

Franklyn Pangbom 



1-jtic Rel. Date Min 

Death Day Apr. 10. .. 17... 

Glory of the Kill May 23. 28... 

Newslaugh— No. 2 Dec. 20,33._9... 

Wonders of the Tropics Dec, 13, 33.32 


Circle of Life of the Ant ^ ^ 

Lion, The Feb. 4 7.... 

Farmer's Friend Oct. I / 

From Cocoon to Butterfly. . .Jan. 10 7 

Her Majesty the Queen Bee. Dec. 1,33.. 6 

Insect Clowns ■ ■ ■ ■ Mar. 4. . ./. . . 

Queen of the Underworld ... Dec. 6, 33. . 7 




Rel. Date 



14. . . 



22, '35 



12. . . 






15. . . 



Big Mouthpiece Nov. 9 20 

Horse Heir Feb. l,'33.l9'/2.. 

Raised and Called Mar. 22.'35.20 

Unlucky Strike Aug. 31 2O1/2 . . 


SERIES (Re-Issues) 

Behind the Screen May 25 2 ris. 

The Adventure July 5 2 rls. 


Alibi Bye Bye June 14, '35.21 '/2 ■ 

Bedlam of Beards Apr. 13. ...18... 

Everything's Ducky Oct. 19 21... 

Flying Down to Zero Apr. 19, '35. 19... 

In a Pig's Eye Dec. 28 20' 2 . 

In the Devil Dog House. ... Feb. 2. ...21... 

Odor in the Court Aug. 2 211/2. 



Cubby's Stratosphere Flight. Apr. 20 7... 

Fiddlin' Fun June 15 7... 


No. 3 Aug. 17 4.. 

No. 4 Sept. 28 4i,'2 

No. 5 Oct. 26 5.. 

No. 6 Nov. 23 41/2 

No. 7 Dec. 21 5.. 

No. 8 Jan. 4, '35.. 51/2 

No. 9 Jan. 18,'35..5.. 

No. 10 Feb. 1,'35..5.. 


Pharaohland Feb. 22. '35. .9 


Fixing the Stew Nov. 2 20 

Fuller Gush Man Aug. 24. ...18 

How to Break 90 
at Croquet Jan. 4, '35. 15 

No. 6 — Well Cured Ham.. 

.June 22. ... 19. 



No. 1 — Songs of the Colleges . Oct. 5.... 15.. 

No. 2 — Ferry Go Round . . . . Nov. 23 . . . .20 . . 

No. 3 — This Band Age. ...Jan. 25,'35.21'/2 

No. 4 — Simp Phoney Concert. Mar. 15, '35. 21.. 



Blasted Event June 29. . . . 19. . 

Brit-a-Brac Jan. 18, '35. 19.. 

Love on a Ladder Sept. 7....20i,/2 

Poisoned Ivory Nov. 16. ...21.. 

Wrong Direction Nov. 16 21.. 


Fverybodv Likes Music Mar. 9....19''2.. 

Henry the Ape Jan. 26 2 rls. 

Bert Lahr 

Title Rel. Date Min. 

If This Isn't Love Sept. 28 211/2.. 

Spirit of 1976 Fed. 15,'35 . 21 '/2 . . 


tRuth Etting) 

An Old Spanish Onion Mar. I, '35. 20 

Bandits and Ballads Dec. 7....18'/2.. 

Southern Style Sept. 14 20 

Ticket Or Leave It May 26, '35 


Released twice a week 

PATHE REVIEWS (1933-1934) 
Released once a month 

Released seven times a year 



Japanese Lantern 

Parrotville Old Folks Jan. 25, '35.. 7 

Spinning Mice 

Sunshine Makers, The Jan. 1 1,'35. .8. . . . 


Cactus King June 8 I rl . . 


Century of Progress June 15 ... 22 

Grand National Irish 

Sweekstakes Race, 1934... Apr. 2 10 

La Cucaracha Aug. 31 ... .201/2 . . 

Steffi Duna-Don Alvarado 



A Little Bird Told Me Sept. 7 5 


Damascus June 

Eyes on Russia Aug. 

Fakeers of the East Dec. 

Isle of Spice Jan. 1 1,'35. 


Red Republic Sept. 21 10. . . 



Child of Mother India 30. . . 

Hindu Holiday 9... 

It's a Bird 14... 

Olympic Winter Sports 

Capital 8... 

Once Upon a Time 10... 


7. . . 

. I rl. 


101/2 • 


Title Rel. Date 


5. Gulliver Mickey May 19.. 

6. Mickey's Steamroller. .. .June 15.. 

7. Orphans' Benefit Aug. II.. 

8. Mickey Plays Papa Sept. 29.. 

9. The Dognappers Nov. 10.. 

10. Two-Gun Mickey Dec. 25.. 

11. Mickey's Man Friday. . .Jan. 17, '35 

12. Band Concert Feb. 23. '35 


6. The Wise Little Hen. ..June 7 1 rl 

7. The Flying Mouse July 12 7.. 

8. Peculiar Penguins Sept. 6 8.. 

9. Goddess of Spring Nov. 1 

10. The Golden Touch 







No. 1— Jolly Little Elves. . 


1 . . . 


No. 2 — Toyland Premiere. 






No. 2 



1 rl.. 

No. 3 



1 rl . . 

No. 4 



1 rl.. 

No. 5 



1 rl.. 

No. 6 


14, '35 


No. 7 


No. 8 

Mar. 25. '35 


No. 7 





Mar. 25, '35. 

.1 rl . . 

Hill Billys 




Robinson Crusoe Isle 


7. '35 


Sky Larks 


22 . . . 


Spring in the Park 




Two Little Lambs 


1 l.'35 

.1 rl. . 

Wax Works, The 


25.. . 


William Tell 


9 . 







No. 2 — Novelty 

Sept. 24... 


No. 3 — Novelty 




No. 4 — Novelty 


26. . . 


No. 5 — Novelty 




No. 6 — Novelty 



.8. . . . 

No. 7 — Novelty 




No. 8 — Novelty 



. 1 rl . . 


At the Mike 


10. . . 

20.. .. 

(Mentone No. 3-A) 

Demi Tasse 



2 rls. 

(Doane Musical No. 1) 

Doin' the Town 




(Mentone No. 9-A) 

Fads and Fancies 


22. . . 


(Mentone No. 13) 

Father Knows Best 


20, '35. 

.2 rls. 

Sterling Holloway 

Gus Van and His Ne-qhbors. 




(Mentone No. 2-A) 





Henry's Social Splash 



.21 ... . 

Henry Armetta 

Hits of Today 



2 rls 

(Mentone No. 12) 

Hollywood Trouble 

. Jan. 



. Aug. 



Knickerbocker Knights ... 

. Dec. 

12. . . 



Meet the Professor 


13. '35 


(Mentone No. lO-A) 

Night in a Night Club. A 


2. . . 


(Mentone No. 1-A) 


2 rls. 

(Mentone No. 5-A) 


18. . . 


Sterling Holloway 

Revue a la Carte 


16. '35 


Tom Patricola 

(Mentone No. 8) 
Soup for Nuts 

( Mentone No. 1 1 ) 
Sterling's Rival Romeo.... 

Sterling Holloway 
Tid Bits 

(Doane Musical No. 2) 
Well, By George 

(Mentone No. 4-A) 

George Price 
Whole Show, The 

(Mentone No. 7-A) 

James Barton 
World's Fair and Warmer. 

June 27 2 rls, 

Nov. 14 2 rls 

Oct. 24 2 rls, 

Oct. 31 20. 

Dec. 26. . . .20. 

Oct. 17 22. 


Title Rel. Date Min 

No. 20 — Daredevil O'Dare.. Aug. I I.... 19... 
Ben Blue 

All Sealed Up Sept. 15 19. . , 

Ben Blue 

Get Rich Quick Apr. 20, '35.. 2 rls 

Allen Jenkins 
His First Flame Mar. 9,'35 

Shemp Howard 

Daphne Pollard 
Oh Sailor Behave Sept. 29. . . . 17. . . 

El Brendel 

Old Gray Mayor, The Apr. 6, '35.. 2 rls 

Bob Hope 

Smoked Hams Oct. 20 18. . . 

Shemp Howard 

Daphne Pollard 
So You Won't T-T-T-Talk. .Nov. 3. ...20... 

Roscoe Ates 

Out of Order Nov. 17 19. . . 

Ben Blue 

Vacation Daze 2 rls, 

Jenkins &. Donnelly 
Dizzy and Daffy Dec. 15. ...19. 

Dizzy and Daffy Dean 
Once Over Lightly Jan. 12, '35 .2 rls. 

Roscoe Ates 
Radio Scout Jan. 26. '35. 19. 

El Brendel 


No. 32 — The Policy Girl... Aug. 

Mitzi Mayfair-Roscoe Ails 

Syncopated City Sept. 

Hal LeRoy- Dorothy Dare 
Paree. Paree Sept. 

Dorothy Stone-Bob Hope 
Good Morning Eve Sept. 

Leon Errol 

No Contest Oct. 

Ruth Etting 
Off the Beat Oct. 

Morton Downey 
The Flame Song Oct. 

Bernice Claire- 

J. Harold Murray 
Gem of the Ocean Nov. 

Jeanne Aubert 
Gypsy Sweetheart Mar. 

Winifred Shaw- 
Phil Regan 
Hear Ye! Hear Ye! Dec. 

Vera Van and the 

Yacht Club Boys 
See. See, Senorita Jan. 

Tito Guizar Armida 
What. No Men? .Jan. 

El Brendel-Phil Regan 

Soft Drinks & Sweet Music Dec. 

George Price-Sylvia Froos 
Show Kids .Jan. 

Maglin Kiddies 

Tad Alexander 
Radio Silly .Jan. 

Cross & Dunn 
Cherchez La Femme .Feb. 

Jeanne Aubert 
In the Spotlight Feb. 

Hal LeRoy &. Dorothy Lee 
Mr. & Mrs. Melody • Mar. 

Ildmay Barley — Lee Sims 
Shoestring Follies .Feb. 

Eddie Peabody 
Singing Silhouette, The. ...Mar. 

Olga Baclanova 
Castle of Dreams, The Apr. 

Morton Downey 
Cure It With Music Apr. 

Fifi D'Orsay 
In This Corner Apr. 

Pick and Pat- Roscoe Ails 

.21 . . 


.21 . . 
.20. . 

19 20. 

30, '35.. 2 rls 

22 2 rls 

r2.'35. .2 rls 
5, '35. 21 . . 

8. ...20.. 

5, '35. 20. . 

9,'33. .2 rls 
2. '35 . .2 rls 
22, '35. .2 rls, 

16, '35 

16, '35. .2 rls 
16.'35..2 rls, 

6, '35. .2 rls 
13, '35.. 2 rls, 
27,'35..2 rls 


No. II — Buddy's Circus Irl. 

No. 12 — Buddy the Detective Irl 

No. 13 — Viva Buddy I rl 


No. I — Buddy's Adventures I rl 

No. 2 — Buddy the Dentist I rl 

No. 3 — Buddy of the 
! egion 7., , 

6. . . 

10. . 

3. . . 

10. . 

29. . . 

10. . 

1 . . . 

10. . 

26, '35 



.1 rl 


.1 rl 

16, '35 

. 1 rl 

Title Rel. Date Min. 

No. 4 — Buddy's Theatre 1 rl . . 

No. 5 — Buddy's Pony Ex- 
press I rl. . 


Mirrors Sept. 8. ...II.... 

Freddy Rich &. Orchestra 
Phil Spitalny and His 

Musical Queens Oct. 

Richard Himber and His 

Orchestra Nov. 

Don Redman and His Band. Dec. 
Will Osborne and His Or- 
chestra Dec. 

A &. P Gypsies Jan. 

Harry Horlick 
Charlie Davis and Band... Feb. 
Rimac's Rhumba Orchestra . Mar. 
Barney Rapp and His New 

Englanders Mar. 


1934-35 (In Color) 

No. I — Those Beautiful Dames 7... 

No. 2 — Pop Goes My Heart 7... 

No. 3— Mr. &. Mrs. Is the 

Name 7. . . 

No. 4 — Country Boy 7... 

No. 5 — I Haven't Got a Hat I rl. 



No. 1 — Pilgrim Days Oct. 

No. 2 — Boston Tea Party . Nov. 

No. 3 — Hail Columbia Dec. 

No. 4 — Remember the 

Alamo Dec. 

No. 5 — Trail of the 49ers..Jan. 

No. 6 — Dixieland Feb. 

No. 7 — Blue and the Gray. Mar. 
No. 8 — The Mormon Trail. Mar. 
No. 9 — Westward Bound ..Apr. 
No. 10 — Remember the 

Maine May 

No. 24 — At the Races July 

Edgar Bergen 
No. 25 — The Stolen Melody. July 
No. 26 — Camera Speaks ....Aug. 


Little Jack Little Sept. 

Radio Reel No. I Sept. 

Mr. and Mrs. Jesse Crawford . Sept. 

Vaudeville Reel No. 1 Oct. 

Movie Memories Oct. 

Songs That Live Nov. 

Gus Edwards 
Two Eoobs in a Balloon 

Edgar Bergen 

Good Badminton Nov. 24.... 

Stuffy's Errand of Mercy... Dec. 15.... 
Listening in Dec. 8 

Radio Reel No. 2 

Vaudeville Reel No. 2 Dec. 29 

Harry Von Tilzer Jan. 5, '35. 

Chas. Ahearn Jan. 19, '35. 

A Trip Thru a Hollywood 

Studio Feb. 2,'35. 

We Do Our Part Feb. 9,'35. 

Radio Reel No. 3 

Vaudeville Reel No. 3 Feb. 16, '35. 

Guess Stars Mar. 22,'35. 

Radio Ramblers 

Billy Hill Mar. I6,'35. 

Eggs Marks the Spot Mar. 30,'35. 

Radio Reel No. 4 
Some Bridge Work Apr. I3,'35. 

Edsy Aces 

Vaudeville Reel No. 4 Apr. 27,'35. 



19, '35. 

9, '35. 

2, '35. 
23, '35. 
13, '35. 


21 ... . 

I I . 


10. . . 
10. . . 


. I rl. 


. 10. . . 

I . . 
15. . 
29. . 
13. . 
27. . 
10. . 

.1 rl. 
10. . 


. I rl. 

. I rl. 


12 Episodes Each Unless Otherwise Specified 
Title Rel. Date Min. 


Young Eagles July I 2 rls. 

Boy Scouts 


Burn 'Em Up Barnes June 16 2 rls. 

Jack Mulhall-Lola Lane- (each) 

Frankie Darro 
Lost Jungle, The June 13 2 rls. 

Clyde Beatty (each) 

Law of the Wild Sept. 5 2 rls. 

Rex, Rin Tin Tin, Jr. (each) 

Ben Turpin, Bob Custer 
Mystery Mountain Dec. 3 2 rls. 

Ken Maynard- Verna H illie (each) 

Phantom Empire Feb. 23, '35. .2 rls. 

Gene Autry-Frankie Darro (each) 


Chandu on the Magic Island 

Bela Lugosi-Maria Alba 

Return of Chandu, The Oct. I 

Bela Lugosi-Maria Alba (Seven -reel feature 
followed by eight 
two-reel episodes) 


Call of the Savage Apr. 15, '35. 20 

Noah Beery, Jr. (each) 

Red Rider, The July 16.. . 20 

Buck Jones (each) 

(15 episodes) 
Rustler's of Red Dog Jan. 21, '35. 20 

John Mack Brown (each) 

Tailspin Tommy Oct. 29 ... 20 

Maurice Murphy- (each! 

Noah Beery, Jr. 
Vanishing Shadow, The Apr. 23 20 

Onslow Stevens-Ada Ince (each) 


In Recent Issues of 
Better Theatres 

Proper Planning for Air Condition- 

Revamping Small Store Building 
for Theatre 

Modernizing the Projection Room 

Heating the Theatre Economically 

Methods for Theatre Employe 

Some Pointers on Reconstruction 

What an FHA Loan Can Do 

Better Amplification at Lower Costs 

Reconditioning for Better Projection 

Attracting the Patron with Light 

A Design for an Exclusive Com- 

New Lighting for Today's Theatre 

Constructing Theatre Advertising: 
How to Use Type 

A 900-Seat Theatre Costing $55,000 

and each month: 

Richardson on Projection 
Knight on Maintenance 

Section Tw o o f 

Most urgent today are the remodeling needs ot 
many thousands of theatres. Owners will pres- 
ently spend millions of dollars for lobby, audi- 
torium, stage and exterior repairs, replacements, 
decorations and general renovizing. Better 
Theatres with its current emphasis on remodeling, 
drawing advice from the world's leading archi- 
tects, engineers and technicians, extends the 
value of every dollar spent— and shows more 
results. Its authoritative counsel, in its editorial 
pages and in its nation-wide correspondence 
service, is free to America's exhibitors. 

For counsel on your remodeling and maintenance prob- 
lems — just write to Better Theatres — and a reply will be 
promptly forthcoming free of all "trade tie-ups" and 

without obligation. 


Motion Picture Herald 



March 9 , 19 3 5 



LADY BY CHOICE: Carole Lombard, May Robson, 
Walter Connolly, Roger Pryor — This is a good picture 
and pleased almost 100 per cent. Business not so 
good, but no fault of picture. You need not be afraid 
of this one.— C. W. Tipton, New Theatre, Manila, Ark. 
General patronage. 

MEN OF THE NIGHT: Bruce Cabot, Judith Allen 
—Here is a very good photoplay. Bruce Cabot is cast 
100 per cent. Judith Allen works hard and puts her- 
self over in a very pleasing way. You will find it is 
entertainment but hard to get them in. Business av- 
erage last three days of week. — W. H. Brenner, Cozy 
Theatre, Winchester, Ind. General patronage. 

MEN OF THE NIGHT: Bruce Cabot, Judith Allen 
— A nice little action picture for Friday, Saturday. 
Running time, 58 minutes. — Fred E. Pennell, Cozy 
Theatre, Decatur, Mich. Small town patronage. 

NO GREATER GLORY: George Breakston, Jimmie 
Butler, Jackie Searl, Frankie Darro — I consider this 
a poor picture. It was very mushy in places and the 
moral or object was brought out very poorly. Bor- 
zage's productions lack reality and the scenes are often 
too sentimental. No drawing power.— B. L. Smith, 
Liberty Theatre, Quinton, Okla. Small town patron- 

SQUARE SHOOTER: Tim McCoy— Average west- 
ern that pleased the Friday-Saturday patronage. Run- 
ning timCj 58 minutes. — Fred E. Pennell, Cozy Thea- 
tre, Decatur, Mich. Small town patronage. 

WESTERNER, THE: Tim McCoy, Marion Shilling 
■ — This is a good western picture that pleased all of my 
Saturday patrons. It is crammed full of action, fight- 
ing and a touch of romance. McCoy plays his part 
well and makes this an excellent attraction for the 
regular Saturday fans, who enjoy plenty of action and 
fighting. Played one day to very good business. Run- 
ning time, 55 minutes. Played February 16. — J. J. 
Medford, Orpheum Theatre, Oxford, N. C. Country 

First National 

BABBITT: Aline MacMahon, Guy Kibbee— This is 
a very good picture of the comedy type and it pleased 
all who saw it. It is the story of a small town busi- 
ness man, his ups and downs. This is strictly comedy 
throughout and is good entertainment for both young 
and old. The trailer sold the show for us and we 
played on a late Saturday night show to good busi- 
ness. Running time, 75 minutes. Played February 16. 
—J. J. Medford, Orpheum Theatre, Oxford, N. C. 
Country patronage. 

DARK HAZARD: Edward G. Robinson, Genevieve 
Tobin, Glenda Farrell — Very good. Robinson puts this 
picture over in fine shape. Based on gambling; the 
ups and downs that go with this game. The action 
and shots of the greyhound racing was new to our 
audience. Picture okay for weekend run. — A. E. Han- 
cock, Columbia Theatre, Columbia City, Ind. General 

iam, Margaret Lindsay, Lyle Talbot — Just played this 
and it failed to get anywhere. — Herman J. Brown, 
Majestic Theatre, Nampa, Idaho. General patronage. 


BABOONA: Mr. and Mrs. Martin Johnson— The 
critics are, as usual, all wet on this. It is the best 
African picture and it will get money if you will for- 
get all the African pictures before it and go after it. 
Be sure to talk of ten thousand wild elephants in a 
herd, of snow a hundred feet deep at the equator, of 
monkey people battling the big baboony ape people 
and winning the battle, etc. Johnson should give us a 
little less Ossie and use the space for Africa in these 
pictures. — Herman J. Brown, Majestic and Adelaide 
Theatres, Nampa, Idaho. General patronage. 

BABOONA: Mr. and Mrs. Martin Johnson— Unique 
story of airplane exploration in Africa gives this wild 
animal picture a different angle from previous releases. 
—John A. Milligan, Broadway Theatre, Schuylerville, 
N. Y. Small town patronage. 

BABOONA: Mr. and Mrs. Martin Johnson— Some 
thought this not quite as good as "Congorilla," but 
on the whole, entertaining and educational. I liked 
it very much and was good at the box office, consider- 
ing time of year. Plenty of action in the last reel, 
and comedy, too. Hope to have another from them 
in a year or two. Running time, 73 minutes.— Fred 
E. Pennell, Cozy Theatre, Decatur, Mich. Small town 

BABY TAKE A BOW: Shirley Temple, James 

N this, the exhibitors' own de- 
partment, the theatremen of the 
nation serve one another with 
information on the box office per- 
formance of product for their mu- 
tual benefit. It is a service of the 
exhibitor for the exhibitor. Address 
all communications to — 

WJoat the 'Picture Did for Me 


I 790 Broadway, New York 

Dunn, Claire Trevor — Excellent picture. Good busi- 
ness. — Sammie Jackson. Jackson Theatre, Flomaton, 
Ala. Small town patronage. 

BRIGHT EYES: Shirley Temple, James Dunn- 
Excellent. Box office said so. — R. V. Fletcher, Lyric 
Theatre, Hartington, Neb. General patronage. 

BRIGHT EYES: Shirley Temple, James Dunn, Jane 
Darwell, Judith Allen — The best that Shirley has done, 
but this Jane Withers, her foil, runs her a close 
second as the brat. The cast was perfect, especially 
Sellon that took the part of Uncle Ned. — A. E. Han- 
cock, Columbia Theatre, Columbia City, Ind. General 

BRIGHT EYES: Shirley Temple— This is one of the 
best pictures I have ever run and pleased all. Busi- 
ness good. — C. W. Tipton, New Theatre, Manila, Ark. 
General patronage. 

Entertaining detective story. Saturday biz just so-so. 
—Roy W. Adams, Mason Theatre, Mason, Mich. Small 
town patronage. 

CHARLIE CHAN IN PARIS: Warner Oland, Mary 
Brian — Good entertainment for Friday and Saturday. 
— R. V. Fletcher, Lync Theatre, Hartington, Neb. 
General patronage. 

CHARLIE CHAN IN PARIS: Warner Oland, Mary 
Brian — Without first asking Sidney Skolsky, this, I 
believe, rates as a very good mystery thriller. Audi- 
ence liked it. — John A. Milligan, Broadway Theatre, 
Schuylerville, N. Y. Small town patronage. 

DUDE RANGER, THE: George O'Brien— Very good 
comedy western. — P. G. Held, New Strand Theatre, 
Griswold, Iowa. Neighborhood patronage. 

HELLDORADO: Richard Arlen, Madge Evans— A 
good Friday and Saturday picture. — R. V. Fletcher, 
Lyric Theatre, Hartington, Neb. General patronage. 

MARIE GALANTE: Spencer Tracy, Ketti Gallian 
— Medium program type picture. — R. V. Fletcher, Ly- 
ric Theatre, Hartington, Neb. General patronage. 

Lew Ayres — ^An entertaining comedy to terrible mid- 


will help pack your theatre 


as a grand prize. 


for the kiddies. 

for tlie exhibitor. 

to help you pacl4 your theatre with youngsters 
and keep 'em coming for weeks. 
PROGRAM) — Thousands of window displays and news- 
papers to get behind your theatre and put over the 
greatest Kiddie deal in years. 


wire — write — phone 


630 NINTH AVE., N. Y. C. 

week business (it must be the weather). — Roy W. 
Adams, Mason Theatre, Mason, Mich. Small town 

365 NIGHTS IN HOLLYWOOD: Alice Faye, James 
Dunn — Our patronage enjoyed this film, but agreed 
that it was not as good as "She Learned About Sail- 
ors." — J. W. Noah, New Liberty and Ideal Theatres, 
Ft. Worth, Texas. General patronage. 

WHITE PARADE, THE: John Boles, Loretta 
Young — This picture will please most any audience. It 
is a good picture. Good for small town. — C. W. Tip- 
ton, New Theatre, Manila, Ark. General patronage. 


CRIMSON ROMANCE: Ben Lyon, Sari Maritza— A 
thrilling war picture that appealed to everybody who 
saw it. Got extra business by playing up war angle. 
If your patrons like war stories don't fail to book it. 
Played December 19-20.— Al Johnston, Rialto Theatre, 
Jacksonville, Texas. Small town patronage. 

CRIMSON ROMANCE: Ben Lyon, Sari Maritza— 
This is only fair entertainment. It is a drama of war 
with romance set against a background of the German 
air force. Ben Lyon as the smart Alec practically 
ruined the show, but for the excellent acting of Bush 
and Sari Maritza. It is adult entertainment and will 
not please the ladies because of the war scenes. 
Played one day to poor business. Running time, 67 
minutes. Played February 20. — J. J. Medford, Orphe- 
um Theatre, Oxford, N. C. Country patronage. 

LITTLE MEN: Ralph Morgan, Erin O'Brien-Moore, 
Junior Durkin, Cora Sue Collins, Frankie Darro, 
Dickie Moore — A swell picture for a small town with 
population over 7,000. Played this picture during the 
year's coldest weather, sleet and snow, and did excel- 
lent business. If this picture is exploited well it will 
get extra business. Played January 20-21-22. — Al 
Johnston, Rialto Theatre, Jacksonville, Texas. Small 
town patronage. 

Esther Ralston, Conrad Nagel, Armida — A snappy 
picture that did swell business for three days. I could 
have gotten lots of extra business on this one, if 24 
sheets were available. This picture appealed to the 
adults. Played December 20-31, January 1.— Al John- 
ston, Rialto Theatre, Jacksonville, Texas. Small town 


BABES IN TOYLAND: Stan Laurel, Oliver Hardy, 
Charlotte Henry— This is not adult entertainment. I 
would suggest a matinee for the kids if you have to 
run it.— R. V. Fletcher, Lyric Theatre, Hartington, 
Neb. General patronage. 

BABES IN TOYLAND: Laurel and Hardy— This 
is a good picture of its type, but not the kind the 
patrons of today want. This is a comedy of Fairyland 
with all of the story book characters and will make 
excellent entertainment for the kids. If you play this 
for a kiddie matinee, you will do business, otherwise 
it will be just another flop at the box office. Played 
two days to poor business. Running time, 78 minutes. 
Played February 18-19.— J. J. Medford, Orpheum The- 
atre, Oxford, N. C. Country patronage. 


Harding, Robert Montgomery — Got a world of vvell 
justified kicks on this one. Glad I saw it for nothing 
myself as would have hated to think I paid to_ see it. 
My town is strictly off Ann Harding; perhaps it's be- 
cause of the fact they put her in stuflf like this. Busi- 
ness poor. Direction terrible, like an old time _ stage 
play; no action, no wit, no reason on earth why it was 
ever made. — Herman J. Brown, Majestic Theatre, 
Nampa, Idaho. General patronage. 


Harding, Robert Montgomery — There is a lot of dia- 
logue to this picture, but it is so cleverly given that 
it is far from' boresome. Personally liked it very 
much and received good comments, but was way low 
at the B. O. Running time, 84 minutes. — Fred E. 
Pennell, Cozy Theatre, Decatur, Mich. Small town 

FORSAKING ALL OTHERS: Joan Crawford, Rob- 
ert Montgomery, Clark Gable, Billie Burke, Charles 
Butterworth, Frances Drake — Excellent. The box ofTice 
said so, although I had bad roads and weather to 
fight.— R. V. Fletcher, Lyric Theatre, Hartington, 
Neb. General patronage. 

PAINTED VEIL, THE: Greta _ Garbo— Was agree- 
ably surprised in this one for it seemed to please 
nearly everyone. Garbo is not popular here but this 
one has the advantage of a good story and I consider 
it her best picture. Not as good at the box office but 

March 9, 1935 



pleased those who came. Running time, 86 minutes. 
Played January 26-27. — Gladys E. McArdle, Owl The- 
atre, Lebanon. Kan. Small town patronage. 

Brian Aherne, Madge Evans— Poison to the box of- 
fice. One Scotchman came twice. — R. V. Fletcher, Ly- 
ric Theatre, Hartington, Neb. General patronage. 

WICKED WOMAN. A: Mady Christians, Jean 
Parker, Charles Bickford — A good melodramatic pro- 
gram picture.— R. V. Fletcher. Lyric Theatre, Hart- 
ington, Neb. General patronage. 

WICKED WOMAN, A: Mady Christians, Charles 
Bickford — Was agreeably surprised with this one. 
Figured it was just another program feature and 
it turned out to be an A-1 piece of entertainment. 
Has some nice weepy moments that the ladies just 
love and enough comedy relief to keep it from getting 
draggy. Good picture and good business so every- 
thing's lovely on the Sumas front. Played February 
20.— B. HoUenbeck, Rose Theatre, Sumas, Wash. 
Small town patronage. 


GIRL O' MY DREAMS: Mary Carlisle. Creighton 
Chaney — Very poor picture. Business bad. — C. W. 
Tipton, New Theatre, Manila, Ark. General patron- 

Ralph Morgan — Set it midweek position and this is not 
a regular policy. Gave it lots of newspaper space 
and sat back and took in the money. Gave fine satis- 
faction as entertainment, and the boxofTice fairly 
groaned with the take-in. — W. H. Brenner, Cozy Thea- 
tre, Winchester, Ind. General patronage. 

Ralph Morgan — Very good. A picture that is suitable 
and will be enjoyed by the whole family. However, 
for some reason or other, the box office results on this 
were very disappointing. Played February 16. — B. 
Hollenbeck, Rose Theatre, Sumas, Wash. Small town 

Ralph Morgan. Louise Dresser — Fair picture. Many 
said they were very disappointed. — Sammie Jackson, 
Jackson Theatre, Flomaton, Ala. Small town patron- 

Ralph Morgan — If all the hungry independent exhibi- 
tors book and play this one, they will be able to live 
off the fat purse this one will bring into the box 
office. _ Played this one three days and hung out 
SRO sign every performance. Went rather heavy 
on the exploitation angles and that put it over. Boys, 
do something to get them in the first time on this 
picture and those who see it will do the rest. Played 
December 23-24-25.— Al Johnston, Rialto Theatre, 
Jacksonville, Texas. Small town patronage. 

ney, Edward Nugent, June CoUyer — This is a very 
good air picture and did very good here. A good pic- 
ture that the family will enjoy. All who saw it were 
pleased. Played February 13-14. — Al Johnston, Rialto 
Theatre, Jacksonville, Texas. Small town patronage. 

MAN FROM UTAH, THE: John Wayne— I played 
this one on Friday and Saturday and hung up SRO 
sign for two days. Boys, page Mr. Ripley because 
it's another "Believe It or Not." Plenty of action in 
this one to wow them. Heard lots of comment from 
patrons on it. Played January 25-26. — Al Johnston, 
Rialto Theatre, Jacksonville, Texas. Small town pa- 

MILLION DOLLAR BABY: Ray Walker, Arline 
Judge — This is a fine little picture with a catchy title. 
Played it two days and did as much as picture does in 
three days. All who saw it were pleased. It par- 
ticularly appealed to the younger crowd. Played Feb- 
ruary 3-4. — Al Johnston, Rialto Theatre, Jacksonville, 
Texas. Small town patronage. 

RANDY RIDES ALONE: John Wayne, Alberta 
Vaughn — Played this picture on Friday and Saturday 
and hung out SRO sign both days. This picture holds 
the record for business in this house. Plenty of fast 
action and excitement. Pleased everybody. Played 
December 21-22.— Al Johnston, Rialto Theatre, Jack- 
sonville, Texas. Small town patronage. 

SING SING NIGHTS: Conway Tearle, Hardie Al- 
bright, Boots Mallory — This was a mighty fine picture 
and appealed to everybody. Hung up SRO sign first 
day and had a full house second day. Patrons seemed 
to enjoy it. Played December 26-27. — Al Johnston, 
Rialto Theatre, Jacksonville, Texas. Small town 

WOMEN MUST DRESS: Minna Gombell, Gavin 
Gordon, Hardie Albright — This is a good picture, well 
directed, well acted and excellent photography, it was 
an excellent story, but lacked the prominent stars 
to draw the patrons. Played February 17-18-19. — Al 
Johnston, Rialto Theatre, Jacksonville, Texas. Small 
town patronage. 


BEHOLD MY WIFE: Sylvia Sidney, Gene Ray- 
mond — A good picture but no drawing power. Pleased 
everyone that saw it. Running time, 79 minutes. 

From tJje South and Southwest this 
week come three neti> reporters to 
"What the Picture Did for Me". 
They are: 

Al Johnston, Rialto Theatre, Jack- 
sonville, Texas. 

B. L. Smith, Liberty Theatre, Quin- 
ton, Oklahoma. 

C. W. Tipton, New Theatre, Manila, 

Reports from each of these show- 
men appear in the Department this 

Played February 12-13. — Harry M. Newman, Liberty 
Theatre, Lynden, Wash. Small town patronage. 

CLEOPATRA: Claudette Colbert, Warren William 
— Caesar calls it "Cleo-Patt-ra" ; Antony calls it 
"Cleo-pott-ra" ; the dictionary calls it "Oeo-pay-tra." 
I call it a splendid big spectacle, with a great cast 
and wonderful acting. The highbrows went for it, but 
the regular gang failed to come, so it wasn't a tre- 
mendous financial success here. — Roy W. Adams, Ma- 
son Theatre, Mason, Mich. Small town patronage. 

CLEOPATRA: Claudette Colbert, Warren William 
— Have this to say, "Cleopatra" is the most preten- 
tious offering of the screen since talkies came in. It 
is big in every way, everyone connected with it in any 
way have a perfect right to be more than proud of 
their achievement. As a box office we found it okay. 
— W. H. Brenner, Cozy Theatre, Winchester, Ind. 
General patronaee. 

CLEOPATRA: Claudette Colbert, Warren William. 
Henry Wilcoxon, Joseph Schildkraut — This is a great 
picture of its type, but this type does not click at the 
box office. It is a typical De Mille production and as 
spectacular as its predecessors. It is a romantic 
drama based on an historical background. The act- 
ing, direction and settings are wonderful, but that 
was not enough to pull them in. Played two days 
to very poor business. Running time, 100 minutes. 
Played February 14-15.— J. J. Medford. Orpheum 
Theatre, Oxford, N. C. General patronage. 

COLLEGE RHYTHM: Lanny Ross. Joe Penner, 
Mary — Splen<h'd ccimedy drama with action and 
romance nicely interspersed with music and fun. 
Pleased. Drew above average business on a Sunday 
and Monday. Played January 27-28.— P. G. Estee, 
S. T. Theatre, Parker, S. D. Small town patronage. 

ly, Gertrude Michael — Average program. Little slow 
but pleased older patrons and had no complaints from 
younger element. Played February 1-2. — P. G. Es- 
tee. S. T. Theatre, Parker, S. D. Small town patron- 

HERE IS MY HEART: Bing Crosby, Kitty Carlisle 
— Clean, enjoyable entertainment for all ages. Pleased. 
Played February 17-18.— P. G. Estee, S. T. Theatre, 
Parker, S. D. Small town patronage. 

HERE IS MY HEART: Bing Crosby, Kitty Car- 
lisle — I doubled this with a John Wayne western and 
it did the work. Running time, 77 minutes. Played 
February 8-9-10. — Harry M. Newman, Liberty Theatre, 
Lynden, Wash. Small town patronage. 

HOME ON THE RANGE: Jackie Coogan, Randolph 
Scott — An A-1 westerner that pleased 100 per cent. 
Did very good business here and brought out more 
kids than I knew were in town. Jackie Coogan not 
so hot as an actor, although some came to see him 
out of curiosity, or maybe for old time's sake. Run- 
ning time, 55 minutes. Played February 9. — B. Hol- 
lenbeck, Rose Theatre, Sumas, Wash. Small town 

HOME ON THE RANGE: Jackie Coogan, Raii- 
dolph Scott — A very good western that did the busi- 
ness and pleased everyone. Played February 1-2-3. — 
Harry M. Newman, Liberty Theatre, Lynden, Wash. 
Small town patronage. 

IT'S A GIFT: W. C. Fields, Baby LeRoy— Opin- 
ions were divided about this. Some thought it good, 
others said it was silly. It didn't do any business, 
and they must get better stories for Fields or it's 
going to be too bad. — Roy W. Adams, Mason Theatre, 
Mason, Mich. Small town patronage. 

KISS AND MAKE UP: Gary Grant. Helen Mack, 
Genevieve Tobin. Edward Everett Horton — This pro- 
grammer will do all right. — Herman J. Brown, Ma- 
jestic and Adelaide Theatres, Nampa, Idaho. General 

LEMON DROP KID: Lee Tracy— Average Satur- 
day business. Tracy is not the drawing card he used 
to be. and as a fond papa he isn't quite convincing. 
— Roy W. Adams, Mason Theatre, Mason, Mich. 
Small town patronage. 

(Reports continued on following page) 



March 9 , 19 3 5 

LEMON DROP KID: Helen Mack, Lee Tracy— 
This is a dandy program picture and will give very 
good satisfaction— C. W. Tipton, New Theatre, 
Manila, Ark. General patronage. 

LIMEHOUSE BLUES: George Raft, Jean Parker, 
Anna May Wong, Kent Taylor — Got by with a hard 
shove. Raft has no draft here. Anna May Wong 
has been neglected and has to be put across again. 
It's remarkable how many clever people are neglected 
and how many dubs are thrust into every picture. 
There must be a clique in Hollywood. If you are 
born in Czechoslovakia and come from Europe they 
will waste years and millions trying to put you over, 
but if you are an American, God help you.— Herman 
J. Brown, Majestic Theatre, Nampa, Idaho. General 

MANY HAPPY RETURNS: Gracie Allen, George 
Burns, George Barbier, Joan Marsh, Veloz and Yo- 
landa, Guy Lombardo and his Royal Canadians — Too 
much Allen; not enough Lombardo. Fair program 
picture. — Sammie Jackson, Jackson Theatre, Flomaton, 
Ala. Small town patronage. 

NOW AND FOREVER: Shirley Temple, Carole 
Lombard, Gary Cooper — Good Sunday business. Pic- 
ture just fair. Hitch your wagon to this little star 
and you'll wear diamonds (Hecht and MacArthur 
to the contrary notwithstanding). — Roy W. Adams, 
Mason Theatre, Mason, Mich. Small town patronage. 

NOW AND FOREVER: Shirley Temple, Gary 
Cooper, Carole Lombard, Sir Guy Standing — This is 
another picture that offers only fair entertainment 
and is entirely the wrong type of story for Shirley 
Temple. A few more parts like this and Shirley will 
go down just as many others have. "Bright Eyes" 
made her famous, but "Now and Forever" did much 
harm. Played two days to good business, but not so 
pleasing. Running time, 72 minutes. Played February 
11-12.— J. J. Medford. Orpheum Theatre, Oxford, N. 
C. General patronage. 

PURSUIT OF HAPPINESS: Francis Lederer, Joan 
Bennett — A very pleasing picture, but I couldn't get 
them out to see it. — Roy W. Adams, Mason Theatre, 
Mason, Mich. Small town patronage. 

Francis Lederer — Comedy drama of colonial days, feat- 
uring oldtime customs, among which was "bundling." 
That is, the courting couples climbed into bed with a 
dividing board between them and there visited, thereby 
saving fuel which history tells us was a very scarce 
article. Played January 25-26.— P. G. Estee, S. T. 
Theatre, Parker, S. D. Small town patronage. 

A Zane Grey tale. Pleasing but not up to "Wagon 
Wheels" in drawing power; lacking song and music 

build-up. Played February 9-10.— P. G. Estee, S. T. 
Theatre, Parker, S. D. Small town patronage. 

SHE LOVES ME NOT: Bing Crosby, Miriam Hop- 
kins — Very pleasing comedy drama to slim Sunday 
business. Blame it on the flu epidemic. The picture 
is OK. — Roy W. Adams, Mason Theatre, Mason, 
Mich. Small town patronage. 

WE'RE NOT DRESSING: Bing Crosby, Carole 
Lombard, George Burns, Gracie Allen, Ethel Merman 
— Old, but very good. — Sammie Jackson, Jackson The- 
atre, Flomaton, Ala. Small town patronage. 

WITCHING HOUR. THE: Tom Brown, Judith Al- 
len — One of the best program pictures we have played 
in a long while. Running time, 64 minutes. — P. G. 
Held, New Strand Theatre, Griswold, Iowa. Neigh- 
borhood patronage. 


Reed Howes — If this is a sample of what Florida pro- 
ducers are going to ofifer, we'll take Hollywood. The 
beautiful natural settings of swampland and planta- 
tions are the only redeeming features of this produc- 
tion which shows the effects of a limited budget and 
hurried effort. It is distinctly a second-rate picture. 
—J. W. Noah, New Liberty and Ideal Theatres, Ft. 
Worth, Texas. General patronage. 

RKO Radio 

ADVENTURE GIRL: Joan Lowell— I advertised 
this as a travelogue, so they knew what to expect. 
The recording is goshawful. Joan Lowell sounds as 
if she had her head in a barrel. — Roy W. Adams, Ma- 
son Theatre, Mason, Mich. Small town patronage. 

ANNE OF GREEN GABLES: Anne Shirley, Tom 

Brown — Very, very good. Drew some extra business 
and pleased all. Played February 3-4-5. — P. G. Es- 
tee, S. T. Theatre, Parker, S. D. Small town patron- 

ANNE OF GREEN GABLES: Anne Shirley— Excel- 
lent family picture. Did only fair at the box-office 
because of bad weather and roads. Just the type of 
picture for family entertainment, clean. Running time, 
79 minutes.— P. G. Held. New Strand Theatre, Gris- 
wold, Iowa. Neighborhood patronage. 

ANNE OF GREEN GABLES: Anne Shirley, Tom 
Brown — A wonderful picture and a very fine cast. So 
far. I am much pleased with RKO pictures. Running 
time, 79 minutes. Played February 15-16-17. — Harry 

M. Newman, Liberty Theatre, Lynden, Wash. Small 
town patronage. 

ENCHANTED APRIL: Ann Harding, Frank Mor- 
gan, Ralph Forbes — Poison to your box office and the- 
tre. This is not entertainment in any town or city. — 
R. V. Fletcher, Lyric Theatre, Hartington, Neb. Gen- 
eral patronage. 

FINISHING SCHOOL: Frances Dee, Billie Burke, 
Ginger Rogers, Bruce Cabot— You can give RKO credit 
for this one. It is a good program picture and pleases 
nearly everyone. The direction was handled very 
cleverly. Ginger Rogers knocks 'em cold. Business 
was wonderful.— B. L. Smith, Liberty Theatre, Quin- 
ton, Okla. Small town patronage. 

GAY DIVORCEE, THE: Fred Astaire, Ginger 
Rogers, Alice Brady, Edward Everett Horton — A 
highly entertaining film which pleased our patrons. — 
J. W. Noah, New Liberty and Ideal Theatres, Ft. 
Worth, Texas. General patronage. 

GOODBYE LOVE: Charles Ruggles, Verree Teas- 
dale — An old one full of wisecracks. Good comedy. 
It's entertainment that people want and this furnished 
it. Played February 20-21.— Harold C. Allison, Bald- 
win Theatre, Baldwin, Mich. Small town patronage. 

GRAND OLD GIRL: May Robson, Mary Carlisle, 
Fred MacMurray — Very good program picture. — R. V. 
Fletcher, Lyric Theatre, Hartington, Neb. General 

^ GRAND OLD GIRL: May Robson— Very good fam- 
ily picture. May Robson at her best in this one. 
Running time, 71 minutes. — P. G. Held, New Strand 
Theatre, Griswold, Iowa. Neighborhood patronage. 

HAT, COAT AND GLOVE: Ricardo Cortez— 
Nothing extra. — Roy W. Adams, Mason Theatre, Ma- 
son, Mich. Small town patronage. 

KENTUCKY KERNELS: Bert Wheeler, Robert 
Woolsey, Mary Carlisle — I would like to see Wheeler 
and Woolsey in a good picture. — R. V. Fletcher, Lyric 
Theatre, Hartington, Neb. General patronage. 

LITTLE MINISTER, THE: Katharine Hepburn, 
John Beal — Excellent ; the box office said so. — R. V. 
Fletcher, Lyric Theatre, Hartington, Neb. General 

RED MORNING: Steffi Duna, Regis Toomey— 
Good program action picture. Localed on an island ofif 
the coast of British New Guinea. Played February 
15-16.— P. G. Estee, S. T. Theatre, Parker, S. D. 
Small town patronage. 

SILVER STREAK, THE: Sally Blane, Charles 
Starrett — Entertaining railroad drama. Although a bit 
of propaganda for the railroad and streamlines in the 
picture, it seemed to please our patrons. We played 
on Sunday. Played February 10-11. — P. G. Estee, S. 
T. Theatre, Parker, S. D. Small town patronage. 

WEST OF THE PECOS: Richard Dix, Martha 
Sleeper — Swell. Did the best midweek business in 
many months. Richard Dix fits the role like a glove. 
Played February 13. — B. Hollenbeck, Rose Theatre, 
Suma.s, Wash. Small town patronage. 

WOMAN IN THE DARK: Fay Wray, Ralph Bel- 
lamy, Melvyn Douglas, Roscoe Ates — Fair program 
picture. — R. V. Fletcher, Lyric Theatre, Hartington, 
Neb. General patronage. 

WOMAN IN THE DARK: Fay Wray, Ralph Bel- 
lamy — This is just a pleasing program picture and 
that is all. Nothing big, but should please the aver- 
age fans. It is a drama about a young man who 
could not keep out of trouble. Roscoe Ates supplies 
the necessary comedy and the entire cast play their 
parts well. Played on late Saturday night show to 
fair business. Running time, 70 minutes. Played 
February 9. — J. J. Medford, Orpheum Theatre, Ox- 
ford, N. C. General patronage. 

United Artists 

BORN TO BE BAD: Loretta Young, Gary Grant— 
This picture offers very poor entertainment and our 
patrons did not like it. This is a bad story and 
strictly adult entertainment. Thanks to the Decency 
League, there will be less pictures of this type, li 
you were one of the exhibitors who didn't play this, 
then you were lucky. Played one day to fair business. 
Running time, 61 minutes. Played February 13. — 
J. J. Medford, Orpheum Theatre, Oxford, N. C. Gen- 
eral patronage. 

KID MILLIONS: Eddie Cantor, Ann Sothern, Ethel 
Merman, Block and Sully — Very good entertainment. 
Pleased about 75 per cent. Personally think Eddie 
is slipping. — R. V. Fletcher, Lyric Theatre, Harting- 
ton, Neb. General patronage. 

KID MILLIONS: Eddie Cantor, Ann Sothern, Ethel 
Merman, Block and Sully — A swell picture. It has 
everything, comedy, gals and two spectacular dancers 
that are among the best we have seen on the screen. 
Ann Sothern has not the voice to solo; too light in 
volume, but this Merman girl has plenty of what it 
takes. She's "tops" at putting a song over. The 
minstrel number and the ice cream sequence in color 
is very good and we must not forget Eve Sully as the 
slightly "screwy" daughter of the sheik. And did 
she put it over? She did. A swell little comedian. 
It's a honey for the Cantor fans and everyone else 
that saw it. — A. E. Hancock, Columbia Theatre, Co- 
lumbia City, Ind. General patronage. 

March 9, 1935 



MIGHTY BARNUM, THE: Wallace Beery, 
Adolphe Menjou, Virginia Bruce, Rochelle Hudson — 
Mixed reception. Many thought it a burlesque on a 
great showman. Whoever made this should have read 
"Dollars and Sense or How to Get On." This book 
by Barnum I carried with me ten years, from fifteen 
to twenty-five. Read it. Barnum was not a gaping 
fool, but a shrewd man. Unbelievable that the show 
business should make a repulsive henpecked ass out 
of its patron saint. Business would have been better 
if intelligence had been used in characterizing Bar- 
num. The "stage" fire of the museum reminded me 
of old ten-twenty-thirty cent melo days. A real di- 
rector would have made it thrilling and real. Why 
don't we have a real fire in some picture? Now don't 
scramble into it. boys, and start a cycle. Virginia 
Bruce a knockout and can she sing. Personally, 1 
thought Beery did a poor job of it. He's better at 
burlesquing Garbo, an artist miles ahead of his com- 
prehension. The big laugh, however, is the fact that 
the asinine "Liberty" gave this four stars. — Herman 
J. Brown, Majestic Theatre, Nampa, Idaho. General 

Fairbanks, Merle Oberon, Binnie Barnes — Drew 50 per 
cent of average crowd, so I can't say it's a show that 
will go over big anywhere. Doug is a washout in this 
one. Played February 23-24. — Harold C. Allison, 
Baldwin Theatre, Baldwin, Mich. Small town patron- 

WE LIVE AGAIN: Anna Sten, Fredric March- 
Excellent, but not from a box office standpoint. Will 
please about 25 per cent of any audience. — R. V. 
Fletcher, Lyric Theatre, Hartington, Neb. General 


Hyams, Patricia Ellis — Another one of those would-be 
sophisticated pictures which talks itself to death. 
All about the loves of a gentleman (via flashback 
method) who is discovered dead from mysterious 
causes. Naturallv this calls for a crowd of suspicious 
characters and a detective. Ho hum. — J. W. Noah, 
New Liberty and Ideal Theatres, Ft. Worth, Texas. 
General patronage. 

CHEATING CHEATERS: Fay Wray. Caesar Ro- 
mero — Picture seemed to please, and did average Sat- 
urday business. — Roy W. Adams, Mason Theatre, Ma- 
son, Mich. Small town patronage. 

GREAT EXPECTATIONS: Henry Hull, Janet Wy- 
att, Phillips Holmes — I tied up with the school on this, 
and it went over nicely on Saturday. It is unusual, 
old-fashioned, and leisurely in tempo, but to my sur- 
prise the Saturday crowd took it and liked it. Henry 
Hull is perfect in the difficult role of Magwitch. Jane 
Wyatt is a charming early Victorian heroine, and the 
rest of the cast are very good. — Roy W. Adams, Ma- 
son "Theatre, Mason, Mich. Small town patronage. 

I'VE BEEN AROUND: Chester Morris, Rochelle 
Hudson — Just a programmer. Got an ending thrown 
into it that would make one think, "Well, I'm glad 
that's over." The hero runs out on her and she runs 
for the poison and they lived happily ever after. Run- 
ning time, 75 minutes. — Fred E. Pennell, Cozy The- 
atre, Decatur, Mich. Small town patronage. 

WAKE UP AND DREAM: Russ Columbo, June 
Knight — A pleasing musical comedy. Better midweek 
business than I have been doing lately. — Roy W. 
Adams, Mason Theatre, Mason, Slich. Small town 

WAKE UP AND DREAM: Russ Columbo, Roger 
Pryor — Another picture that meant nothing at the 
box-ofifice and did not please. Too many drinking 
scenes. Why don't the producers cut out these drink- 
ing scenes in pictures? Why don't they wake up to 
the fact that 90 per cent of the patrons don't like 
these drinking scenes. Running time, 76 minutes. — 
P. G. Held, New Strand Theatre, Griswold, Iowa. 
Neighborhood patronage. 

WAKE UP AND DREAM: Russ Columbo, Roger 
Pryor, June Knight — After reading several favorable 
reports on this picture, it proved somewhat of a dis- 
appointment as we found it slow and draggy with little 
originality. Russ Columbo was the outstanding per- 
sonality and proved that if he could have lived and 
been given stronger roles, he would have gone to the 
top.— J. W. Noah, New Liberty and Ideal Theatres, 
Ft. Worth, Texas. General patronage. 


BORDERTOWN: Paul Muni, Bette Davis, Margaret 
Lindsay — Surprised me with the business it did and 
the praise it got. My town must be changing its 
psychology, as such stuff used to be poison. It did 
first rate.— Herman J. Brown, Majestic Theatre, Nam- 
pa, Idaho. General patronage. 

BORDERTOWN: Paul Muni, Bette Davis— They 
don't come any better than this one for a rural town. 
Muni does one swell job in this role. First time that 
we have had him and he is no fashion plate and they 
will never use him on a collar ad, but he can cer- 
tainly put a role like this one over. Good story, tense 
drama, a gripping picture. — A. E. Hancock, Columbia 
Theatre, Columbia City, Ind. General patronage. 

BORDERTOWN: Paul Muni, Bette Davis— This is 
the first time we have ever seen Muni, and hope will 
see many more from this star. This should be classed 

as mostly drama. My patronage wanted to see a lit- 
tle more action on his part, as he can sure put it 
over. Bette Davis wonderful. Running time, 90 min- 
utes.— Fred E. Pennell, Cozy Theatre, Decatur, Mich. 
Small town patronage. 

DEVIL DOGS OF THE AIR: James Cagney, Pat 
O'Brien. Margaret Lindsay— Certainly a great picture. 
Every one will want to see this. Word-of-mouth ad- 
vertising great. This picture is destined to go places. 
Give it all you got, for it certainly will pay you big 
dividends. Better than "Here Comes the Navy." Run- 
ning time, 90 minutes. Played February 6-8.— Earl 
J. McClurg, Grand Theatre, Preston, Td'aho. Small 
town and rural patronage. 

HAROLD TEEN: Hal LeRoy, Rochelle Hudson, 
Patr icia Ellis. Guy Kibbee — This picture may not have 
much of a story, but is good entertinment for all the 
family, as it has pep, youth, and interesting person- 
alities. — J. W. Noah, New Liberty and Ideal Theatres, 
Ft. Worth, Texas. General patronage. 

HEAT LIGHTNING: Aline MacMahon, Preston 
Foster, Ann Dvorak, Lyle Talbot — Pretty good pic- 
ture to pretty good business. Business could have 
been a third better; the mats on this are as bad as it 
is possible to make them. — Herman J. Brown, Majestic 
Theatre, Nampa, Idaho. General patronage. 

will, Fay Wray — Well made picture and fine color 
and sound well recorded. But the condition of the 
print was bad. as it was the last print they had in 
Detroit. Had a hard time running it. 8 reels. Liked 
by all that saw it. Running time, 72 minutes. — Albert 
HefTeran, Owl Theatre, Grand Rapids, Mich. College 
students patronage. 

SECRET BRIDE, THE: Barbara Stanwyck, War- 
ren William— Excellent program picture. Strong story, 
capable acting, plenty of suspense, no sex and mush. 
Good for any situation at any time. Pleased everyone 
and word of mouth advertising built up business. 
Don't pass it up. Running time. 64 minutes. Played 
February 14-16.— B. R. Johnson, Orpheum Theatre, 
Kerrobert, Canada. Small town patronage. 

SECRET BRIDE, THE: Barbara Stanwyck. War- 
ren William — This I consider to be a good little pic- 
ture of the murder mystery type; state capitol scenes 
good; but at the B. O. was terrible. Running time, 
68 minutes. — Fred E. Pennell, Cozy Theatre, Decatur, 
Mich. Small town patronage. 

SWEET ADEILINE: Irene Dunne — Any small town 
will be better off not to use this picture. It will not 
please. However, it is not a bad picture but will not 
take with the most of the show game. — C. W. Tipton, 
New Theatre, Manila, Ark. General patronage. 

SWEET ADELINE: Irene Dunne, Donald Woods— 
This is the t)ox office disappointment of the year. I 
had no one else complain, but people just don't want 
to see it. I think they let Irene sing too much and 
made about two reels too much show. Anyway, 
though I liked it, people didn't and it ran down to 
just no business. — Charles Lee Hyde, Grand Theatre. 
Pierre, S. D. General patronage. 

Short Features 


HAPPY BUTTERFLY, THE : Scrappy Cartoon 
Series — Excellent cartoon. These new Scrappy car- 
toons are much better than the old ones. Running 
time, eight minutes.— P. G. Held. New Strand Thea- 
tre, Griswold, Iowa. Neighborhood patronage. 

HORSE COLLARS: Three Stooges— Here is a laugh 
comedy and if you are like me that is what you are 
looking for. — W. H. Brenner. Cozy Theatre, Winches- 
ter, Ind. General patronage. 

MEN IN BLACK: Three Stooges— Maybe you call 
this a comedy, but my patrons did not. Who told the 
Stooges they could act? This is poor comedy and en- 
tirely too silly to be funny. Let's have better shorts 
and less of this kind of entertainment. Running time, 
19 minutes.— J. J. Medford, Orpheum Theatre, Oxford, 
N. C. General patronage. 

TRAPE:ZE ARTIST: Krazy Kat series— This is a 
knockout; a pip. — Herman J. Brown. Majestic and 
Adelaide Theatres, Nampa, Idaho. General patronage. 


GENTLEMEN OF THE BAR: Ernest Truex— Could 
be worse and could be a whole lot better. Running 
time, 20 minutes. — Fred E. Pennell, Cozy Theatre, 
Decatur, Mich. Small town patronage. 

IRISH SWEEPSTAKES: Terry-Toons— Very fine 
and print good and recording clear. Liked by all who 
attended. Running time. 6 minutes. — Albert Hefiferan, 
Owl Theatre, Grand Rapids, Mich. College students 

MAGIC FISH, THE: Terry -Toon— This is fair en- 
tertainment of tlie cartoon type and will please all 
who like this kind of comedy. However, I think there 
is lots of room for improvement and hope the pro- 
ducer will try it. Running time, 9 minutes. — J. J. 
Medford. Orpheum Theatre, Oxford, N. C. General 

(Reports continued on following page) 



March 9, 1935 

NIFTY NURSES: Musical Comedies Series— This 
is very poor entertainment of the musical type. There 
is very little music and the entire two reels are en- 
tirely too silly for a comedy. Running time, 19 min- 
utes. — J. J. Medford, Orpheura Theatre, Oxford, N. C. 
General patronage. 

is only fair entertainment of the slapstick variety and 
did not please our patrons. The two-reelers of today 
are very poor entertainment compared with the shorts 
of several years ago and the producers should give 
this their attention. Running time, 19 minutes. — J. 
J. Medford, Orpheum Theatre, Oxford, N. C. General 

THEN CAME THE YAWN: Treasure Chest— Very 
clever satire on extravagant previews of pictures. 
Running time, 8 minutes. — Roy W. Adams, Mason 
Theatre, Mason, Mich. Small town patronage. 

good cartoon. — P. G. Held, New Strand Theatre, 
Griswold, Iowa. Neighborhood patronage. 


Travel Talk — This is both interesting and educational 
as well as amusing. This one reeler shows many in- 
teresting scenes in Africa and especially the beautiful 
Victoria Falls. Let's have more of these. Running 
time, 10 minutes. — J. J. Medford, Orpheum Theatre, 
Oxford, N. C. General patronage. 

APPLES TO YOU: Musical Comedies Series- 
Why any company should produce such a short as this 
is beyond my knowledge. Metro, the Number 1 com- 
pany, was the producer of this and they get the prize 
for the year's best flop in the short subject line. If 
you can do worse, let's see it. Running time, 19 min- 
utes.— J. J. Medford, Orpheum Theatre, Oxford, N. 
C. General patronage. 

If Irvin Cobb is funny, then we can all go on the 
stage as great comedians. Bum comedy. Someone 
should really tell the Cobb person his mush is painful, 
not funny.— Herman J. Brown, Majestic and Adelaide 
Theatres, Nampa. Idaho. General patronage. 

GOING BYE-BYE: Laurel and Hardy— This is a 
good two-reel comedy of the slapstick variety. It is a 
bit different from the usual Laurel and Hardy come- 
dy, but they still use many of their old gags. Why 
not create something new for them so the public 
will not grow tired of them? Running time, 20 min- 
utes.— J. J. Medford, Orpheum Theatre, Oxford, N. C. 
General patronage. 

GRANDFATHER'S CLOCK: Musical Revues Series 

— Not bad and not good. Gets by and that's about 
all. — B. Hollenbeck, Rose Theatre, Sumas, Wash. 
Small town patronage. 

HANDLEBARS: Oddities Series— This is a very in- 
teresting one-reeler showing the development of the 
bicycle from the beginning to the present time. This 
will please the majority of patrons. The remarks by 
Pete Smith make half of the entertainment. Running 
time, 10 minutes. — J. J. Medford, Orpheum Theatre, 
0.xford, N. C. General patronage. 

JUNGLE JITTERS: Willie Whopper— This is a 
good comedy that pleased all who saw it. This is one 
of the best of this series of Willie, and if all were as 
good as this one, this would be one of the best shorts 
on the market. Running time, 9 minutes. — J. J. Med- 
ford, Orpheum Theatre, Oxford, N.^C. General patron- 

LIVE GHOSTS: Laurel and Hardy— The best Lau- 
rel and Hardy in three years. — Herman J. Brown, 
Majestic and Adelaide Theatres, Nampa, Idaho. Gen- 
eral patronage. 

MAID IN HOLLYWOOD: Todd-Kelly— This is the 
poorest Todd-Kelly comedy I have yet seen. — J. W. 
Noah, New Liberty and Ideal Theatres, Ft. Worth, 
Texas. General patronage. 

YOU BRING THE DUCKS: Irvin S. Cobb— I could 
see nothing in this one and nobody else could. Run- 
ning time, 16 minutes. — Harry M. Newman, Liberty 
Theatre, Lynden, Wash. Small town patronge. 

ZION, CANYON OF COLOR: FitzPatrick Travel 
Talks Series — One of the best travelogues I have 
ever seen. Wonderful scenes, technicolor and some 
nice incidental music. It's OK and will improve any 
program. Running time, 8 minutes. — B. Hollenbeck, 
Rose Theatre, Sumas, Wash. Small town patronage. 


OLD KENTUCKY HOUNDS: Paramount Varieties 
—Clever comedy played by dogs.— Roy W. Adams, 
Mason Theatre, Mason, Mich. Small town patronage. 

POOR CINDERELLA: Betty Boop Series— This is 
a wonderful picture. Can use a lot more like it. 
Running time, 7 minutes.— Harry M. Newman, Lib- 
erty Theatre, Lynden, Wash. Small town patronage. 

mount Varieties— Rather slow.— Roy W. Adams, Mason 
Theatre, Mason, Mich. Small town patronage. 


Betty Boop — Fair cartoon. — Roy W. Adams, Mason 
Theatre, Mason, Mich. Small town patronage. 


DEATH DAY: An interesting and unusual short. 
This is part of the film made by Sergei M. Eisen- 
stein and financed by Upton Sinclair who, incidentally, 
wrote the introductory subtitle of this subject. Death 
Day, according to this film, is a Mexican holiday 
which is both religious and festive. Oti Death Day 
the natives wear skull masks, bedeck skeletons with 
all manner of costumes, and buy skeleton toys and 
miniature skulls made of candy for their children. The 
photography is beautiful and the grotesque ceremonies 
are different from anything ever seen by the average 
theatre patron. The picture is silent with subtitles 
and musical accompaniment. — J. W. Noah, New Lib- 
erty and Ideal Theatres, Ft. Worth, Texas. General 

RKO Radio 

LA CUCARACHA: Stefifi Duna, Don Alvarado— 
Wonderful, and how the customers raved about it 
Running time, 20 minutes. — Harry M. Newman, Lib- 
erty Theatre, Lynden, Wash. Small town patronage. 

LITTLE BIRD TOLD ME, A: Toddle Tal» Car- 
toons — A dandy cartoon comedy. Running time, seven 
minutes.— P. G. Held, New Strand Theatre, Griswold, 
Iowa. Neighborhood patronage. 

United Artists 

FLOWERS AND TREES: Silly Symphonies— Very 
artistic and beautiful. Running time, seven minutes. 
—P. G. Held, New Strand Theatre, Griswold, Iowa. 
Neighborhood patronage. 

THREE LITTLE PIGS: Silly Symphonies— Still a 
good drawing card. — Roy W. Adams, Mason Theatre, 
Mason, Mich. Small town patronage. 


AT THE MIKE: Mentone No. 3-A— Just an aver- 
age musical short. — Roy W. Adams, Mason 'Theatre, 
Mason, Mich. Small town patronage. 

GOOD TIME HENRY: Henry Armetta— If this is 
comedy, then I'm badly misinformed by my patrons. 
One of the worst two-reelers evev played in my 
theatre. Patrons told me so. Universal should make 
better comedies than they do. Don't play this unless 
you want to be razzed by your patrons like I was. 
Running time, 2 reels. — Sammie Jackson, Jackson 
Theatre, Flomaton, Ala. Small town patronage. 

2-A— Not too good. — Roy W. Adams, Mason Theatre, 
Mason, Mich. Small town patronage. 

WAX WORKS, THE: Oswald Cartoons— Only fair 
cartoon. It seems as if these don't make a very big 
hit here. Running time, seven minutes. — P. G. Held, 
New Strand Theatre, Griswold, Iowa. Neighborhood 

WHOLE SHOW, THE: James Barton— This is made 
up of a lot of acts, and I think some of them can be 
glad they are on film and not on stage or they might 
get a few ripe tomatoes. Running time, 20 minutes. — 
Fred E. Pennell, Cozy Thetre, Decatur, Mich. Small 
town patronage. 

Vita phone 

PEACH OF A PAIR: Shemp Howard, Daphne Pol- 
lard — This is a very good comedy from this team. A 
stuffed turkey sequence in it is a wow. Running 
time, 18 minutes. — Fred E. Pennell, Cozy Theatre, De- 
catur, Mich. Small town patronage. 

RADIO SCOUT: El Brendel— El Brendel's best. 
Goes scouting for hillbillies in the Kentucky moun- 
tains. Plenty of comedy to it, and some good music. 
Running time, 20 minutes. — Fred . E. Pennell, Cozy 
Theatre, Decatur, Mich. Small town patronage. 



RED RIDER, THE: Buck Jones— One of the best 
serials I ever saw. Boys, better book this one, it will 
bring in the extra customers. — Al Johnston, Rialto 
Theatre, Jacksonville, Texas. Small town patronage. 

TAILSPIN TOMMY: Maurice Murphy, Noah Beery 
Jr.— Very good serial. Showed eight chapters and 
getting better as they go along.— P. G. Held, New 
Strand Theatre, Griswold, Iowa. Neighborhood pat- 

March 9, 1935 




Patricia Ellis, Warner star, returned to the 
Hollywood studios from her Detroit vaca- 

Helen Broderick, Broadway actress, reported 
on the RKO Radio lot to make her film debut 
in "Top Hat," with Fred Astaire. 

Eric Hatch, Fox scenarist, and Royee, Fox 
stylist, are in New York. 

H. G. Wells, noted British author, is due in 
New York this week. His "100 Years From 
Now" is nearing completion at the London 
Films studios. 

Willard McKay of Universal is in Hollywood 
for an indefinite stay. 

Marlene Dietrich arrived in New York for 
a holiday. 

Edgar B. Hatrick, Hearst Metrotone general 
manager, is in Hollywood and plans to re- 
main there several months. 

Michael Balcon, production head of GB stu- 
dios, and Arthur A. Lee, vice-president, left 
New York for Hollywood. 

Leo Freedman of the Columbia home office, 
is in Hollywood. 

Jack Buchanan, star of "Brewster's Mil- 
lions," London made, United Artists release, 
arrived in New York from England. 

George McKay, Broadway comedian and 
dancer, signed by Columbia, left for the 
Hollywood studio. 

Joseph H. Seidelman, Columbia foreign man- 
ager, left for Los Angeles en route to Aus- 

A.^aving Paramount's Hollywood studio for 

New York was Russell Holm an, story 

board head in the East. 
Cresson Smith, Radio's western and southern 

sales manager, returned to New York from 

the Coast. 

Trem Carr, Monogram vice-president in charge 
of production, returned to Hollywood after 
two months in New York conferring with 
W. Ray Johnston, president, and acquiring 
1935-36 story properties. 

Freddie Bartholomew returned to Culver City 
from New York for his second for MGM. 

Gus Schaefer, German manager for Para- 
mount, sailed for Berlin from New York. 

George Schaefer, vice-president and general 
manager of Paramount, was back at the home 
office from the Coast. 

Paramount production folk arriving in New 
York from the studios were Henry Hatha- 
way, director ; Claudette Colbert and Ben 

Rudy Vallee was vacationing at Miami Beach. 

Hal Horne, United Artists advertising direc- 
tor, and Herbert Jaedicker, art director, left 
New York for Hollywood production confer- 

Samuel Goldwyn arrived in New York from 
Hollywood for the premiere of Anna Sten's 
"Wedding Night." 

Maxwell Anderson returned to New York 
from Hollywood, where he adapted his book, 
"So Red the Rose," for Paramount. 

Fred McConnell, Charles Stillman, Daniel 
Longwell and Amos Hiatt were in Detroit 
to meet Harry Thomas, First Division presi- 
dent, and Ralph Rolan, "March of Time" 
advertising director, for sales discussions. 

Sailing from New York for Los Angeles were 
Phil Friedman, Fox casting director; 
Eugene Forde, Fox director, and John 
Stone, Fox producer. 

Rudolph Sanders, Brooklyn exhibitor, sailed 
for Palestine. 

Al Mertz, Radio short subject sales manager, 
was on a midwestern trip. 

John Hay Whitney, producer, was back in 
New York from Hollywood. 

Morton Spring left New York for Jamaica, 
to return this weekend. 

Basil Rathbone left New York for Metro's 
Culver City studio. 

P. A. Powers returned to New York from 
Palm Beach. 

Sam Rinzler. exhibitor, returned to New York 
from a southern vacation. 

A. H. Schwartz, Long Island circuit owner, 
left for Florida. 

Abe Leff and Louis Meyers returned to New 
York from the South. 

Harold B. Franklin arrived in Hollywood 
from New York. 

Merlin H. Aylesworth, RKO president, re- 
turned to New York from the Coast. 

Louis Phillips, motion picture attorney, re- 
turned to New York from St. Louis. 

Milton Kusell returned to New York from 

Bert Perkins resigned from Warners' exploi- 
tation department and was preparing to sail 
for Turkey for American Export Steamship 

William Wright, former Paramount produc- 
tion executive, returned to Hollywood from 
New York. 

Charles, C. Pettijohn was traveling the legis- 
lative circuit. 

Major I. E. Lambert, RKO attorney, was va- 
cationing in Miami from New York. 

Phil Reisman, Radio's foreign executive, was 
to sail for Europe. 

N. L. Nathanson and Sir William Wise- 
man went to Florida. 

Johnny Walker returned to New York from 
England and Ireland, where he made a pic- 

Jack Warner is due back in Hollywood over 

the weekend. 
Harvey Day, Terry-Toons sales manager, was 

touring Fox exchanges in the South. 

Fabian to Purchase 
Brooklyn Paramount 

Si Fabian will purchase the Brooklyn Par- 
amount and office building from Allied 
Owners' Corporation for $1,500,000, it was 
learned Wednesday. Paramount's lease on 
the theatre remains undisturbed, as does Mr. 
Fabian's sub-lease as operator. 


Week of March 2 

Stranger Than Fiction No. 6. Universal 

His First Flame Vilaphone 

Revue a la Carte Universal 


Dumbbell Letters No. 14.. RKO Radio 
The Sunshine Makers RKO Radio 


Be Kind to Animals Paramount 

Song Writers of the Gay 

Nineties Paramount 

Mr. Widget Educational 


Casting tor Luck Educational 

Mr. Widget Educational 


Mickey's Band Concert. . . United Artists 
Chums Educational 


The Dognappers United Artists 

Gentlemen of the Bar Educational 

Pardon My Grip Columbia 


A Trip Through a Holly- 
wood Studio Vitaphone 

Country Boy Vitaphone 

Ralph Kohn III on Coast 

Ralph A. Kohn, former Paramount ex- 
ecutive, is still ill in Hollywood and was 
unable to return to New York for the funeral 
of his father, Morris Kohn, who died last 



March 9 , 19 3 5 




In assisting theatre managers to determine 
the proficiency of applicants for projectionist 
duties, it would serve no good purpose to 
print a series of questions. Were this done, 
all projectionists and near-projectionists 
could quickly search out answers thereto and 
"learn them by heart." Ability to answer 
correctly then would be no indication of 
their knowledge, even of the matters the 
questions covered. 

It is not the propounding of any set series 
of questions that counts, but the determining 
of just how much knowledge the one being 
examined really has of mechanical action, 
lubrication, electrics, magnetism, optics and 
the proper care and adjustment of the vari- 
ous kinds of equipments he will be in charge 
of. Mere ability to dissemble any piece of 
equipment and put it together again proves 
nothing except that he knows where the 
various parts belong, and possibly their cor- 
rect adjustment with relation to one another. 
Important, yes, but not by any manner of 
means a final test. That does not demon- 
strate his knowledge of the action of the 
equipment, either in part or as a whole. For 
example, a man may know perfectly well 
how to assemble electrical equipment, yet 
know little or nothing about its electrical 
action, or how to cause it to work at maxi- 
mum efficiency. 

How, then, may a manager, who cannot 
be expected to know very much about pro- 
jection himself, conduct a competent exami- 
nation ? 

New Bluebook a Source 

Well, gentlemen, that is no easy task. 
However, it may to a considerable extent be 
solved by use of the new Bluebook, about to 
be issued. All text matter therein is laid out 
in a way that will enable even the unin- 
formed to ask hundreds of questions perti- 
nent to projection, and to know whether a 
substantially correct answer is given. It, of 
course, would not be fair to adjudge a man 
incompetent if he is unable to answer all 
these hundreds of questions. 

However, by intelligent, judicious use of 
the new book an excellent idea may be at- 
tained as to the applicant's range of knowl- 

Managers should remember that lack of 
adequate knowledge in the projection room 
means inevitable loss, both at the box ofRce 
and through wasted power and rapid de- 
Ferioration of equipment. Such losses may 
amount to very substantial sums in a year, 
counting diminished box office receipts. 

I feel confident that this plan of procedure 
will be approved heartily by capable projec- 
tionists, or that at the least they will have 
no objection to it. Incompetent projection- 
ists can be expected to protest. Unions can- 
not justly object, provided the examination 
is a fair one. I am now and always have 
been "'for" the projectionist. However, I 

have always demanded, and do still demand, 
that he be thoroughly competent, which 
means being equipped with all possible 
knowledge, both technical and practical. 

Public Also Has "Rights" 

The projectionist has his "rights," cer- 
tainly, and I am perfectly willing to do any 
possible thing to see that they are respected. 
However, the industry, the exhibitor, the 
manager and the public also have rights, and 
those rights too should be respected. More- 
over, I am quite willing to help see to it that 
they are respected. 

Failure of theatre managers to obtain for 
themselves all possible knowledge of the 
relative merits of various kinds of equip- 
ment is likely to be costly — perhaps very 
costly. The manager who studies and equips 
himself with competent knowledge of vari- 
ous types of equipment is a far more valua- 
ble manager than is one who does not. 

How to acquire this knowledge depends 
in part on location. For city managers it is 
an easy matter to visit other theatres, ex- 
amine equipment of supply dealers, and con- 
sult with other managers and with various 
projectionists. In the case of small-town 
managers it is a more difficult problem, yet 
much may be accomplished if a real attempt 
is made. Whether city or small town man- 
ager, however, it takes effort to obtain 
worthwhile results. 


To THE Editor of the Herald: 

I startJed taking the Moving PictureWorld 
in 1913. I was hoping if I didn't renew 
right away you would send J. C. Jenkins 
up after me. I would sure like to meet the 
man, I get a great kick out of his writings. 
Please tell him I think he is a great scout. as soon as the Herald comes in I 
read it through. "What the picture did for 
me" is real funny but good. I know if Bert 
Silver says a picture is good, it is good, and 
I book it if it is not already set in or shown. 

I like Mr. Richardson's writings but I 
can't always agree with him. He has always 
said a projectionist should not try to put in 
repairs. I say a man is not a projectionist 
if he can't do repair work; at least he 
couldn't run a show out in the country. I 
expect he will laugh when I say I made my 
first talking outfit, amplifier and turntables. 
I just saved $1,500 and that outfit ran per- 
fectly until I put in track in 1932 and I had 
sound in the little town of Birtle in 1929, 
one of the first small towns to have sound, 
for the price of an outfit in those days was 
out of the question here for the small the- 

I have run the show in Birtle since 1912. 
I have a house there seating 250. I took 

over this theatre here in Virden in 1930. 
This house belongs to the town and is a 
lovely theatre. It is not so good for pic- 
tures ; it is more for stage shows. The 
house here seats 500. — Tom S. Laidman, 
Auditorium Theatre, Virden, Man., Canada, 
and Savoy Theatre, Birtle, Man. 

Paris Film Introduces 
New Projection Device 

Majestic Film, Paris producer, has com- 
pleted "Napoleon Bonaparte," directed by 
Abel Gance, which has received favorable 
attention from critics of Paris newspapers. 
In the exhibition of the film, it is planned 
to make the first use of a new sound pro- 
jection method, the development of Mr. 
Gance and Andre Debrie. It is said the 
apparatus may be attached to any regular 
projector, and is being handled by Western 
Electric. The device is termed the Sound 

Van Schnnus Denies He 
Conferred with Schenck 

W. G. Van Schmus, managing director of 
the Radio City Music Hall in New York, 
returns from the Coast this week after a 
visit of two weeks in Hollywood when he 
watched production and conferred with of- 
ficials of the Radio studio. He denied in 
Hollywood that his trip included conferences 
with Joseph Schenck, president of United 
Artists, who had preceded him east, rela- 
tive to a proposed deal giving preference to 
United Artists pictures by the Music Hall. 

Bost Toothpaste to Aid 
Liebnnan with Darro Club 

M. B. Liebman, who merchandises to the- 
atres the "Frankie Darro Movie Stamp 
Club," arranged this week with Bost Tooth- 
paste for a national exploitation campaign in 
which newspapers, radio and the usual pub- 
licity mediums will be utilized, especially 
NBC's network on the Edwin C. Hill broad- 
cast. The principal award in a contest 
which will highlight the campaign will be 
a trip to Hollywood visiting Frankie Dar- 
ro, theatres working with the sponsors to 
put over the stunt. 

Monarch, 20 Others 
In Rockefeller Center 

Monarch Theatres, Inc., has leased office 
space at Rockefeller Center, New York, 
marking the twenty-first film company to 
take space at the midtown development. In 
all, these 21 companies occupy 80,000 square 
feet of space, the greater part of it taken 
by companies directly engaged in the pro- 
duction of pictures. 


Echoes wafted back from the recent MPTOA meeting in- 
dicate that advertising emanating from the home offices was 
slated to be picked apart by properly indignant exhibitors. 
Chosen for castigation were those ad chieftains who accepted 
invitations to speak before the convention. However, de- 
tonations, if any, were mild — as was to be expected. 

The subject of press books and other home office advertising 
helps has been discussed thoroughly by members during the 
past few months in the Round Table pages. Unquestionably 
these debatings have aided In clarifying the situation, and it 
is to be doubted whether fireworks at New Orleans would 
have uncovered any further conclusions of significance. 

We would have been more impressed were some of this time 
given to ways and means of improving the lot of the manager 
within whose province the press book really belongs. 

V V V 


Among the various comments noted in the recent discus- 
sions on failings and virtues of press books, some of our con- 
tributors indicated they were not entirely sold on the willing- 
ness with which the ad heads accepted suggestions. 

However, the unanimity with which these harassed execu- 
tives went for Manager Harry Creasey's idea on radio an- 
nouncements, as told last week, leads to the belief that if 
there are any "great walls" around the sanctums of the ad 
men, the defences may easily be scaled by showmen with 
something to say. 

The thought suggests a story supposed to concern one of 
the Brothers Shubert and the late Augustus Thomas then direct- 
ing one of their shows. During a rehearsal, Mr. Shubert 
stopped at the theatre to watch proceedings and, just before 
the second act curtain, popped up excitedly: 

"Right there, Sus," he shouted, "right at that curtain is 
the very spot for a real belly laugh." 

"Exactly," replied Thomas. "What, for Instance?" 

V V V 

The take-a-bow department this week lists the name of the 
New York Roxy publicity prestidigitator, Morris Kinzler, for his 
newspaper campaign on "Night Life of the Gods." That 
Universal was sufficiently impressed to broadcast these ads to 
the trade with Kinzler credited in the billing may be pointed 
to as another Instance of the immediate response from the 
home officers to a good job of work from the field. 


As concerns juvenile patronage, there is no question but 
that the studios are now producing many excellent pictures 
that deserve not only the approval of school superintendents 
but also their active endorsements. 

For the most part, members report little difficulty In obtain- 
ing full cooperation from local educators, but there are in- 
stances where direct endorsements to pupils and teachers have i 
not been so easy to procure. I 

We pause to ask. Why? If the producers are doing their 
part in releasing a grade of picture that meets with the 
approval of Better Films Councils, women's clubs and other 
Important organizations, then by all means school heads should , 
fall in line with at least the same degree of willingness and 
dispatch. ; 

Granted that the nation's schools are not to be exploited ! 
for box office profits — that educators must employ every pre- I 
caution to avoid tieups that smack of promotion. However, ; 
proper allowances should be made for the "Copperfields" ' 
and other nationally approved worthwhiles If producers are to 
be encouraged to proceed further In this direction. Managers 
should not be forced to ask for school cooperation in the 
light of a personal favor. 

V V V 


The largest advertising dollar, of course, is spent on the ' 
biggest attraction and by the same token the widest tieups j 
are usually built around the standout pictures. There Is no , 
quarrel with this procedure. The hit shows pay the rent and I 
contribute much of the oh-day that buys shoes for the baby. 

At the same time, observing showmen are also cognizant 
of the profit potentialities in many lesser but pleasing enter- 
tainments that have to be nursed vigorously with a full exploita- | 
tion bottle to attain box office sturdiness. Martin Goldenberg, | 
of the Karlton Theatre, Philadelphia, reporting on his good 
campaign for "Little Men", says it succinctly with these words: 
"It's the little ones that are tough to sell". 

How much a manager has on the ball may oftimes be deter- j 
mined by the showmanship he displays in putting over attrac- | 
tions of this calibre. 



March 9, 1935 


"Roberta" Premiere 

Cartoon suggested 
by Homer Harman, 
Shubert - Rialto, 
St. Louis, Mo., and 
executed by Milt 

WHAT Vm 00 

Griffith Circuitmen 
Effect "Lancer" Tieups 

Managers of the Griffith Circuit of Okla- 
homa recently participated in a circuit con- 
test on "Bengal Lancer," a number of smart 
ideas forthcoming and reported by C. O. 
Fulgham. Various angles were included and 
these are detailed without particular identity 
as names and locations were not forwarded. 

Street Stuff 

Kid band of 240 pieces was used in one 
spot in parade with six horsemen in lancer 
costume, carrying banners. Parade was also 
put on in college town, with uniformed 
school band followed by float featuring life- 
size animated camel attended by "native" 
Bengal. Sand bags and palm trees were 
further decoration. Bannered white cow was 
led by man in costume, tiein copy starting : 
"In India, the white cow is worshipped," etc. 
Other marchers in costume were also in- 

Along the same idea was a teaser stunt 
put on wherein three mysterious costumed 
strangers on horseback arrived a few days 
ahead and worked the town without disclos- 
ing their identity or purpose, until manager 
sprung the gag. Mounted ushers in cos- 
tume, carrying lances, and others in uni- 
forms borrowed from National Guard also 
were used. Negro made up as Hindu, play- 
ing clarinet as a snake-charmer and doing 
his act at important corners proved another 
effective slant. Boy Scouts and members of 
uniformed organizations cooperated on 
street stuff in other towns. 

Prologue Ideas 

Mounted lancer on stage was used as a 
living advance trailer, with giant cutout title 
letters raised behind blue foots as lancer 
rode slowly across stage. In another house, 

dance scene from the picture clicked with 
cast from local school. Again, uniformed 
men with guns at bayonet made up line in 
front of which "panther girl" sang number, 
closing to clashing of bayonets. Another 
house put on dance school act which included 
boys in turbaned costumes, with oriental 
garden set for background. 

Marquee and Lobby 

Fort idea was stressed in numerous spots 
using drummers and buglers. At theatre 
with low roof, fort was built with scrap 
beaver board and old canvas. Lighted at 
night with stage border and flood lamps ; 
two sentinels paraded ramparts and for extra 
attractors, flare bombs and railroad fuses 
were set off. Special record provided sound 

One fast worker secured original Gary 
Cooper costume from studios for lobby dis- 
play with letter and autographed photo of 
star. Wire from studio in advance was 
blown up. Ushers also were costumed. 
Make 193 5 Your Award Year 

New Orleans Armored Cars Carry "Roberta" Gowns 

As befits the clothes background of the 
story, the world premiere of "Roberta" at 
the Orpheum, New Orleans, was dis- 
tinguished by a series of style shows featur- 
ing 11 of the original gowns worn in the 
production. The first style parade took place 
at the theatre just before the midnight open- 
ing and the second next day at Holmes, 
leading department store. 

The heavily insured Hollywood creations 
of metal moire, shimmering satin, Russian 
sable and other material worn by Irene 
Dunne, Ginger Rogers and other stars in 
the picture transported from the station in 
New Orleans by a fleet of bannered armored 
cars, and accompanied by an escort of 
motorcycle police, were brought to the store 
to be placed on exhibition, where attractive 
models met the caravan (see photo). 

For the show before the premiercj one 
model wearing an original rode in each of 
11 open bannered cars which were routed 
through the main streets and then to the 
theatre. Here the mannequins paraded up 
and down the aisles while an announcer on 
stage described each costume. Motion pic- 
tures were taken in the lobby, and a band, 
lights, microphone were also on hand to lend 
the proper opening atmosphere. 

Store took plenty of space to announce the 
coming style show, ads including photo of 
arriving gowns. Papers also broke stories 
of the event and in general, much to-do was 
made by the theatremen and merchants to 
build up the campaign, effective additionally 
as it took place during the MPTOA conven- 

Manager Victor Meyer, of the Orpheum, 
and Gar Moore^ publicity director, put on 
the fashion pageant stunt, assisted by Ber- 
nard Waldman, of Modern Merchandise Bu- 
reau. The stunt is expected to be duplicated 
at other "Roberta" openings. 

Make 19 iS Your Award Year 

Baldridge Invites Clubs 
to Work on Junior Hour 

As part of the recent Junior Hour cam- 
paign instituted by Warner Theatres of the 
various divisions. Manager Tom Baldridge, 
Capitol, Winchester, Va., invited 75 clubs, 
literary societies, welfare groups, church 
boards and others to cooperate and received 
many encouraging acceptances. 

Shows are to be put on Saturday morn- 
ings at 10 o'clock with nominal charge for 
children. Subjects are to be from recom- 
mended lists with possible addition of stage 
shows made up of talent from the juniors. 

Make 193 5 Your Award Year 

Fox Theatres Staging 
Junior N/lovie Contest 

Managers in the Fox Midwest division 
are now arranging for May execution, a 
junior movie contest for youngsters not 
over 14 years of age in which entrants will 
impersonate some prominent star. Local 
winners will receive prizes, possibly pro- 
moted from cooperating merchants, the main 
award being a trip to Kansas City. 

At one of the Fox theatres in that spot, 
preliminary winners will take part in further 
competitions. Motion pictures will be taken, 
and while not a test, outstanders will be 
aided by having their film efforts passed on 
to sympathetic production ears. 

March 9 , 19 3 5 



Quigley Awards 
Information ♦ ♦ . 

A QUIGLEY AWARD, to be known 
as a "Quigley Silver", will be pre- 
sented each month during 1935 for 
the campaign selected as best by 
the Judges from all those submitted 
to Managers' Round Table Club on 
pictures played between the first and 
last days of that month. • . . 


A QUIGLEY AWARD, to be known 
as a "Quigley Bronze", will be pre- 
sented each month during 1935 for 
the campaign selected as second 
best by the Judges from all those 
submitted to Managers' Round Table 
Club on pictures played between the 
first and last days of that month. . . . 


will be presented at the end of 1935 
to the theatreman submitting, in the 
opinion of the Judges, the most meri- 
torious campaign on any picture 
played between January I and De- 
cember 31, 1 935. . . . 


AWARD will be presented at the 
end of 1935 to the theatreman sub- 
mitting, in the opinion of the Judges, 
the second best campaign on any 
picture played between January I 
and December 31, 1935. . . . 

THEATREMEN everywhere in the 
world are eligible. Campaigns may 
be on domestic or foreign product 
from major or independent produc- 
ers. Entries from foreign lands are 
especially invited and will be ac- 
cepted for consideration during the 
month they are received. . . . 


VISUAL EVIDENCE must accompany 
every entry, such as tear sheets, pho- 
tos, heralds, etc., etc. This ruling must 
be obeyed. . . . 


given every campaign. Theatremen 
with small budgets will receive the 
same break. Remember — "it's what 
you do, not how much you spend." 

CAMPAIGNS should be fo rwarded 
as soon as possible. They may be 
mailed after the last day of the 
month on pictures that have played 
during the month. This includes at- 
tractions played on last days of month 
and first days of following. . . . 


ENTRIES should be mailed to: 

Quigley Awards Committee 
1 790 Broadway - - New York 

SWEET DISPLAY. The flash advance lobby set piece for "Sweet Music" at the Earle, 
Washington, D. C, designed by Frank La Falce and assisted by Bill Ewing. Center 
copy panel was transparent with color wheel attachment, giving additionally attractive 
light effects. Orchestra groups on bottom platform were also transparent. 

Hendricks Profits 
With Amateur Nite 

Alert showmen ever on the hunt to cash 
in on new slants that catch the public eye 
are now getting aboard the amateur night 
angle, lately in the limelight through build- 
up on various radio hours. Colonel Bill 
Hendricks, down in Memphis, has developed 
this profitably in what he states would 
otherwise be an of¥ night at the Warner his 
procedure being as follows : 

Leading radio station cooperates with a 
lot of recognized air talent and orchestra 
and Bill has also promoted a line of girls 
from dancing studio, the amateur night fea- 
ture being incorporated in the rest of the 
entertainment. Station and dance studio is 
paid oi¥ in theatre mentions, names carried 
in ads and also on stage as can be seen in 
accompanying (courtesy Gerstel Studio). 
Plenty of free air advertising is also thrown 
in as station is eager to build up many of 
its attractions through this idea. 

In construction the show follows the style 
of a regular presentation, running about 

Colonel Hendricks' Amateur Nite Radio Revne Finale 

an hour and given twice, at 7:30 and 10:15. 
Acts are presented by M. C, who also 
handles the amateurs. Guest stars from 
night clubs and hotels are featured addi- 

An "applause-o-meter" is used to record 
the amount of audience popularity of each 
amateur, and a cowbell to terminate the 
efforts of those more willing than talented. 
Prizes are all promoted from local furrier, 
who also guarantees any extra expenses 
whenever the gross on the night drops below 
certain set figures. Bill says the merchant 
has not been called upon so far. 

Make 193 5 Your Award Year 

Ed Hart Clicks With 
Temple Contests 

In conjunction with his showings on re- 
cent Shirley Temple features, City Manager 
Ed Hart, Walter Reade Plainfield, N. J., 
theatre reports good results from contests 
staged among local children on Saturday 
mornings at the Oxford Theatre, in that 
spot. The gag took the form of high type 
amateur contests, with Ed throwing in a 
lot of dressing on intelligence tests, as de- 
tailed by the Fox press books. 

Children were allowed to enter any time 
in the week before opening, and on day of 
contests, Temple feature would be run first 
so that audience might be better judges of 
the children's efforts, after seeing the child 
starlet in action. 

Regular M. C. was in charge to help the 
youngsters arrange their offerings and 
routine the event. Cash prizes were awarded 
the winners, and to appease those who fin- 
ished outside the money, Ed contributed a 
pair of tickets to the next best 25. 

Ed reports the stunt has been clicking 
consistently for him and with a few varia- 
tions has it set for coming Temple pictures. 



March 9, 1935 

Alper's "Wiggs" Display 

Murray Alper at the Commodore in 
Brooklyn, N. Y., comes through with an- 
other of his snappy lobby displays (see 
photo) on "Mrs. Wiggs." His "house" was 
constructed solely of egg and grapefruit 
boxes, with old fashioned stove, crude fence 
and imitation grass. Cutouts of players 
were planted at table and wax figure of 
farmer completed the display. 

Make 19 3 5 Your Award Year 

Legion Ties In with Mott 
For "First World War" 

For his "First World War" showing E. 
P. Mott, Worcester Theatre, Wooster, 
Ohio, contacted the American Legion on a 
benefit to raise funds for a new entrance to 
the high school auditorium. Legion officers 
sent letters to all school teachers asking 
them to aid in the sale of tickets and to urge 
pupils to see the film, emphasizing the fact 
that the Legion's profit was derived only 
from the advance sale. Legion boys built 
trench and dugout in lobby (see photo) and 
also stood guard. 

Make 193 5 Your Award Year 

Elephant Bailys 
"Clive" for Peering 

How he managed to lure the cautious 
pachyderm from the zoo, Francis Deering, 
State, Memphis, Tenn., doesn't say, but 
this member promoted the use of the city's 
pet elephant for a street bally on "Clive of 
India," draping the beast with theatre ban- 

Through the cooperation of local high 
school dramatic club, Francis arranged the 
broadcasting of "Clive" radio playlet. For 
his street bally ushers were used, each 
carrying a letter of title and tea company 
donated India tea and sandwiches which 
were served on mezzanine ; merchant also 
placed streamers on all grocery windows 
selling their product. 

Make 193 5 Your Award Year 

Henderson Stages Toy Parade 
Matinee on "It's a Gift" 

Leo Henderson, Idaho Theatre, Twin 
Falls, Idaho, staged an "It's a Gift" toy 
parade matinee with toy serving as admis- 
sion. Papers came through with publicity, 
firemen repaired the toys and the associated 
charities were the benefactors of hundreds of 
toys. Boy Scouts aided in the distribution 
and plugged the matinee at their meetings. 

Leaving from a prearranged meeting 
place the parade of children with their toys 
headed by Scout band, marched through 
streets to theatre where the band played 
selections before entering the house. 

Make 193 5 Your Award Year 

Gilnnan Constructs New 
"Copperfield" Front 

An entire new front was constructed by 
Sam Oilman, Loew's Harrisburg, Harris- 
burg, Pa., for "David Copperfield" (see 
photo). Sides and top of box office were 
covered with copper metallic paper with 
cutout letters painted a two tone bronze, 
purple and silver, trimmed with cromium 

At height of recent blizzard, Sam pro- 
moted old fashioned sleigh bally with bells, 
which was used three days ahead. Door- 
hangers were hung on all pay station tele- 

Alper's Atmospheric "Wiggs" Display 

Motf's "World War" Lobby 

Ditcham's "Copperfield" Sandwich Men 

Gihnan's tine New Front 

phone mouthpieces and book marks dis- 
tributed by public, school and circulating 

Small "I have in my heart" pamphlets 
were inserted in screening invitation en- 
velopes and mailed to selected list. Leading 
card shop also enclosed one in each greet- 
ing card envelope. 

Novel Street Bally Sells 
"Copperfield" for Ditcham 

Accompanying photo shows the way S. F. 
Ditcham, managing director, Capitol The- 
atre, London, England, sold "David Cop- 
perfield" to the Britishers with a couple of 
dozen sandwich men and stage coach bally 
with occupants in costume, ofYering free 
rides to theatre. 

Oiant cutouts atop marquee were illu- 
minated at night and leading department 
store featured a display of Dickens relics. 

Make 19 i 5 Your Award Year 

Cinema Club Officer 
Endorses "Clive" 

Teachers of English, history, and those 
in grade schools Dick Wright reports were 
urged to attend "Clive of India" at the 
Warner, Youngstown, Ohio, by the presi- 
dent of the local Cinema Club, by means of 
signed post cards carrying impressive sell- 
ing copy on the date. 

All district A and P stores tied in on a 
plug for certain brand of tea, giving photos 
of Colman and Young to all purchasers. 
Book windows and co-op beauty parlor ads 
were also promoted. 

Make 193 5 Your Award Year 

Goldberg Invites Clergy 
To "Anne of Green Gables" 

Invitations to all clergymen in his county 
to attend "Anne of Green Gables" showing 
were issued by Andy Goldberg, Regent The- 
atre, Elizabeth, N. J., ministers in turn 
recommending it to their parishioners. 

Standard Oil posted sign on bulletin 
boards suggesting that all employees see 
the picture. Cards were used in all buses 
and stills placed in window of leading dress 

Make 193 5 Your Award Year 

Stein Tells Riding Masters 
About "Broadway Bill" 

Louis Stein at the Stanley, Newark, N. J., 
circularized all riding academies in and 
around town telling them about his "Broad- 
way Bill" opening. Louis also covered 
apartments and hotels with theatre and real 
estate guides containing theatre ad. 

Press book masked star contest was run 
in local papers offering tickets to first fifty 
guessing correctly. Leading jeweler used 
stills of Myrna Loy in attractive frames in 
window display. 

Make 193 5 Your Award Year 

Gilbert Arranges Poll 
On Rogers Pictures 

Manager H. J. Gilbert and Melvin Bar- 
nett, publicist at the Granada, Bluefield, 
West Va., stationed a girl in lobby to query 
exiting patrons on whether they preferred 
"County Chairman" to Rogers' previous 
"Judge Priest" opus. Votes were tabulated 
and published in papers and broadcast each 
evening-. Arrangements were made with 
station to set up a studio in foyer with music 
and talk from picture serving as background. 
Interviews with patrons placing their votes 
was included. 

Attractive girls covered offices distribut- 
ing "Vote for Rogers" cards and rural dis- 
tricts were circularized with postcards 
from Rogers. 

March 9 , 1935 



Purves Treats Patrons 
To "Imitation" Waffles 

Anybody who had the price of admission 
to the Capitol in Sudbury, Ont., could step 
up to the lobby bar installed for the occasion 
and have pancakes on Jack Purves for his 
"Imitation of Life" date. Girl in addition 
to dispensing pancakes handed each femme 
patron recipe on cookies. 

Hardware store came through with large 
window display of waffle irons and cutout 
of Claudette Colbert (see photo), copy 
reading, "Miss Colbert won't make waffles 
for vou. but buy an iron and make your 
own." Restaurants, hotels and coffee shops 
hung signs mentioning free offer of pan- 
cakes at theatre. 

Make 193 5 Your Award Year 

Brown Uses Shirley's Eyes 
As Part of Teaser Campaign 

As part of his teaser campaign, Lou 
Brown, publicity director Loew's Palace, 
Washington, D. C, hung 25-foot banners on 
side wall of theatre showing Shirley's eyes 
and copy reading "Whose Bright Eyes are 
these ?" 

Through local distributor of electric re- 
frigerator fifteen window displays consist- 
ing of cutouts and theatre plug were se- 
cured. Department store used enlargement 
of Shirley surrounded by dresses, stills and 
dolls and cardboard standees were sniped 
and placed in prominent windows. 

Make 193 5 Your Award Year 

Smith Distributes Heralds 
With Daily Newspapers 

J. O. Smith, Paramount, Ashland, Ala- 
bama, reports that he finds the most profit- 
able way to distribute heralds is clipping 
them onto the daily papers. In that way he 
is sure of their commanding attention. 

On "Bright Eyes" Smith covered the sur- 
rounding countrysides with one sheets and 
this in addition to announcements in all 
country schools helped spread news of 
Shirley's new opus. 

Make 193 5 Your Award Year 

Gas Station Mails 
Heralds with Bills 

A tieup was arranged with local gas sta- 
tion by Milt Harris, exploiteer, Loew's 
State, Cleveland", Ohio, for the mailing of 
"Clive of India" announcements with all 
monthly bills. Five and ten featured "Clive" 
sundae and plugged it on all menus in 
branches. Liberty and telegraph boys 
bicycled to theatre, each boy wearing silk 
badge and bikes carrying signs, sound truck 
preceding parade. 

Make 193 5 Your Award Year 

Duffus Secures Coverage 
On "David Copperfield" 

Carlton Duffus, director of advertising. 
Century Theatre, Minneapolis, Minn., on 
tiein with store featured dress copied from 
model in "Copperfield," securing mention 
in silk sale ad and window display carrying 
stills of Maureen O'Sullivan and Madge 
Evans wearing gowns from picture. Ad was 
run in all papers asking for old editions of 
the book for display purposes. These were 
used in window of leading book store with 
studio script. 

On opening day, head of school board vras 

Purves' "Imitation" Window Tieup 

Stubblefield Uses Zulu 
Bally for "Baboona" 

A ballyhoo truck for "Baboona" consist- 
ing of 28 sheets, grass hut and four negroes 
dressed as cannibals beating torn toms (see 
photo) was conceived by Flynn Stubblefield 
at the Strand in Louisville, Ky. 

The entire lobby was decorated with green 
and brown crepe paper, mounted wild birds 
and animals borrowed from taxidermist and 
concealed public address system ran record 
emitting cries of jungle beasts. 

Newspaper contest on "My most thrilling 
adventure" was arranged for cash and ticket 
prizes, winner of local prize to compete with 
winners in other cities for trip to Africa 
offered by Fox. Sporting goods stores used 
window displays of firearms with stills 
showing the Martin Johnsons using adver- 
tized rifles. 

Make 193 5 Your Award Year 

Fountains Feature Sandwich 
For Rotsky's "Minister" Date 

George Rotsky, Palace, Montreal, ar- 
ranged with chain drug stores to feature a 
special apple and cheese sandwich, pur- 
ported to be a favorite of Katharine Hep- 
burn, tying in copy on "Little Minister," 
currently playing. George also managed to 
get the sandwich plugged over radio on 
household hints program. 

Make 193 5 Your Award Year 

Showmen Plant "Silver 
Streak" in Auto Show 

The only theatre to be represented in the 
Los Angeles automobile show was the 
Downtown, according to Manager Melvin 
Murphy and Jaik Rosenstein, publicist, who 
arranged with the Diesel Company to dis- 
play a miniature "Silver Streak" in their 
booth (see photo) with theatre card. 

Railroad cards with copy "What does the 
future hold for you as a railroad employee" 
were posted in and around all rail and trol- 
ley terminals. Living billboard was used 
with trailer projected on glass screen, and 
jumbo telegrams posted in Western Union 

Make 193 5 Your Award Year 

Murphy-Rosenstein "Streak" Display 

Yearsley's "Quints" Clothes Line 

invited to showing, which returned cut and 
story in weekly issue of school paper. The 
famous Micawber thrift message was pro- 
moted for bank tieups in windows in all 

Duffus generously shares credit for this 
campaign with Harold Kaplan, manager ; 
Morris Abrams, M-G-M exploiteer, and 
George Tharp, assistant. 

Another Clothes Line 
For the "Quints" 

The clothespin and diaper manufacturers 
must be celebrating a lot of prosperity to 
judge from the campaigns on the Dionne 
quintuplets short. Bill Yearsley, Warner 
representative in Parkersburg, West Va., 
now gets in line with baby wash day in the 
lobby of the Smoot (see photo) and makes 
it more personal by indicating to which 
infant the diapers belong. 

Bill reports the display pleased the ladies 
and that further attention was whipped up 
by the numerous breaks given the showing 
by the local press. 

Make 193 5 Yojtr Award Year 

Paper Goes to Town 
On "Copperfield" 

The press buildup given "Copperfield" 
at the Warner, Youngstown, Ohio, may have 
had something to do with the holdover on 
that attraction judging from some of the 
tear sheets Dick Wright sends in from the 
Sunday Vindicator. Not only did that sheet 
run an eight-column art spread, but also 
urged attendance editorially in a following 
four-column bold face caption. 



March 9, 1935 


In your eager desire to effect a good showing, have you been too preoccupied 
with mailing reports, nnaking outside contacts and selling your attractions without 
giving your utmost attention to the proper atmosphere in the presentation of 
your entertainment? Common courtesy and intelligent operation of your theatre 
demand that every precaution possible be made to insure a quiet and refined 
atmosphere for your patrons' comfort. Confidence and enjoyment of your pro- 
grams can only be attained by your watchfulness of these elements. Unnecessary 
noises which may seem inconsequential to you not only disturb your patrons but 
can easily wreck their entire evening of anticipated enjoyment. 

Play safe . . . train your service staff to eliminate all unnecessary conversation 
between staff members. In working a capacity house, minimize announcements to 
subdued tones. Impress your operators with the importance of low tone con- 
versations so they will not be heard in the auditorium above your sound. Adjust 
door checks for quiet and proper operation and eliminate rattles and squeaks in 
seat standards and sockets. Instruct your doorman in the proper operation of his 
ticket chopper; make sure that your stage equipment operates as noiselessly as 
possible; and educate your staff members to report to you other annoyances 
which may come from pounding lobby radiators. Check regularly for loose hand 
rails, improper adjustment of toilet room fixtures and drinking fountains. 

In double checking your house operation don't overlook the fact that your 
own office can be of assistance in minimizing noise. Satisfy yourself that your 
theatre is as near "quiet-proof" as possible. You will not only be amply repaid 
with the effectiveness of a refined atmosphere but you will also be rendering 
a distinctive service to your patrons. 

— By Dick Wright, District Manager, in Warner Theatres Ohio "Mouthpiece" 

Various Exploitations 
On "Bengal Lancer" 

Frank Moneyhan at the Indiana in In- 
dianapolis, Ind., highlighted his "Bengal" 
campaign with a street patrol of National 
Guardsmen in lancer costumes and pith hel- 

F. H. Read, Paramount, Atlanta, Ga., 
took advantage of local polo matches to 
break papers with stories paralleling army 
polo and peg-pulling sequences in picture. 

A radio contest was promoted by the pub- 
licity staff of the Denham Theatre in Den- 
ver, Colo., for the best amateur talent to 
broadcast a radio playlet on "Lancer." Lobby 
stunts consisted of guard in lancer uniform 
and rifle, with girls dressed as nautch dan- 
cers distributing samples of French candy. 

Make 193 5 Your Award Year 

And Now, Ed Siegal 

Add to the various and sundry ways that 
the boys in the field have advertised the 
Dionne Quintuplets short that of Ed Siegal, 
Ritz Theatre, Pittsburgh, Pa., who for- 
wards display illustrated in accompanying 

Siegal's "Dionne" Lobby Display 

Clubwomen Aid Drissel 
On "Copperfield" Drive 

At a regular monthly meeting three weeks 
ahead of his opening. Manager Roscoe Dris- 
sel, Loew's, Wilmington, Del., secured the 
aid of the Federation of Women's Clubs to 
put over "Copperfield," a resolution being 
passed that every affiliated club would work 
on the date. 

Immediately, the next weekly broadcast 
sponsored by the local Better Films Council 
was given over to the picture, the Delaware 
branch of the Association of University 
Women fell in line, bulletins planted in all 
club headquarters, and the Telephone Com- 
mittee of the Films Council went into action 
with each of the members calling 10 others 
about the picture, who in turn called 10 
more, etc. 

Lands School Endorsement 

For the first time on this date, Drissel 
reports success in getting the superintendent 
of public schools to endorse a picture, and 
another "first" took the form of a preview 
at the most important local private school. 
Heads of other hard-to-penetrate private and 
parochial schools were invited with good 
results from this quarter. Copperfield book- 
lets were also distributed to school libraries 
through the approval of the board of educa- 

Roscoe was additionally able to do a bit 
of selling to put over the fountain pen press 
book tieup, and succeeded in promoting one 
of his stores to stock up on the item and get 
behind the contest. Radio of course was en- 
listed, and besides the free plugs from vari- 
ous quarters the picture playlet was broad- 

Most interesting is that Drissel's First 
Mention campaign contained a number of 
follow up ideas and angles put to work after 
the picture opened, many of which he feels 
helped in the daily buildup of his grosses. 

Managers to Divvy 
In Fox Bonus Plan 

Fox Midwest Theatres, under the super- 
vision of Elmet Rhoden, division chief, 
have recently inaugurated a managers' and 
employees' participation drive, based upon 
the net cash return improvement over the 
first quarter of 1934. The expectancy of 
par figures for each situation will be the 
net cash returns made the first 13-week 
period. Individual managers will partici- 
pate in the excess net cash return for each 

Theatres are classified in three groups as 
follows : Houses having a weekly gross of 
$2,250 or over are placed in "Class A," 
managers in these spots to receive five per 
cent of all cash return in excess of par. 

"Class B" includes theatres with grosses 
of between $1,500 and $2,250, where man- 
agers will take down seven and one-half 
per cent of the net cash returns. Houses 
grossing under $1,500 will return managers 
10 per cent of all cash returns over par. 

In situations supervised by City Man- 
agers, these executives will retain one-third, 
the managers one-third and remainder to 
theatre employees. In other spots, partici- 
pation money will be divided equally among 
the manager and house staff, manager to 
use his discretion in dividing up the 50 per 
cent that goes to the personnel. 

Three additional prizes will be available 
to best cashiers, doormen, ushers, operators, 
janitors, district managers and district 
bookers also coming in for part of the divvy. 
Make 193 5 Your Award Year 

Venetian-Blind Action 
Introduced by Whitaker 

What he terms "Venetian blind" action 
has been introduced by L and J City Man- 
ager E. E. Whitaker in a unique kind of 
lobby shadow box display on "President 
Vanishes'' at the Fox, Atlanta, Ga. 

Small motor turns the blind, portraits 
painted on one side with catchlines on the 
reverse. Motor is geared so that blind turns 
four times a minute, just fast enough but not 
too fast to prevent easy reading of the copy. 

Whitaker's Animated "Blind" Shadow Box 

March 9 , 19 3 5 




Ever since the davs of "The Great Train 
Robbery" (1905) and "Queen Elizabeth" 
(1912) we've been reading and listening 
to such phrases as: "Not a small town pic- 
ture." . . . "Will probably go in big cities, 
but no good in small towns." . . . "Too 
high brow for my little situation." . . . 
"May be all right for the intelligentsia, but 
not small town material." And during these 
23 years we've wondered what phrases like 
that are all about. 

Perhaps our interpretation of a small 
town . . . anything under 10,000 population 
. . . may be wrong. Our personal experience 
goes no further down than 3,100 population; 
and no higher than 600,000 . . . but we've 
found that a picture which stimulates a big 
gross in a sizable city also gathers big 
receipts in a small town . . . comparatively. 
Coming down to cases, take some of this 
season's outstanding successes : "Chained," 
"Judge Priest," "Forsaking All Others," 
"Mrs. Wiggs of the Cabbage Patch," "Anne 
of Green Gables," "The Little Minister," 
"The Barretts of Wimpole Street," "Bright 
Eyes," "The Mighty Barnum," "Imitation 
of Life," "College Rhythm," "The Count of 
Monte Cristo," "David Copperfield," ad in- 
finitum. Yo other small towners ! Didn't 
these pictures do business in your town, as 
they did here ? There may be one or two ex- 
ceptions, as there are to every rule ; but we 
still fail to find any just application of the 
phrase, "Not a small town picture" in any 

Never Heard the Phrase 

During nearly half of our twenty odd 
years in the show business, we managed 
theatres for chains in large cities. We've 
never once heard the phrase, "Not a big 
town picture." It has been noted, of course, 
that Westerns have no place in an important 
first run; but neither has a Western, to our 
knowledge, ever broken any records in 
small towns. One could scarcely call the 
epic, "The Covered Wagon," a Western, in 
the sense in which it is used here. 

If the reporters refer to towns under 
1,000 population, we are in no position to 
argue the matter. But certainly Whitewater, 
with its 3,500 population, is a small town. 
Are people so dil¥erent, so very suburban, 
in the limited compass of a couple of thou- 
sand of population? Cinematically speaking, 
we find them no different, and their require- 
ments no less, in a city of three and one-half 
thousand than in one hundred times as 
large. In 1919 we advertised the film suc- 
cesses of that year in Minneapolis and St. 
Paul for the old F. & R. circuit. In 1920 
we advertised them in an Iowa town of 
3,100 . . . and the samt pictures were the 
successes of the latter situation ; every one ! 

The writer has been in some situations 
under 1,000 population . . . theatres redolent 
with heavy odors reminiscent of barnyards ; 
where the projection machines were vying 

Wisconsin Member Argues Size 
of Comfnunity Has Little Bearing 
on Pictures' Success or Failure 


Strand, Whitewater, Wis. 

FRED HINDS has his opinions on 
small town operation and states them 
vigorously in these columns, bringing 
into discussion the meaning of a phrase 
that has undoubtedly affected the 
grosses of many an attraction, good 
and indifferent. Hinds has been 
around. He has operated in the big 
cities and the small spots, for the cir- 
cuits, the independents and now on 
his own. He knows well whereof he 
speaks, and whether or not readers 
agree with him unanimously or other- 
wise, Fred's article makes darn good 
reading . — A-MIKE. 

with the sound system to see which could 
create the greatest noise; where it would 
have been difficult enough to understand 
the words without any interference from 
worn out projectors; where the picture on 
an alleged screen jumped in unison with 
decayed inter mittents ; and where the jani- 
tor, if any, brushed up lightly here and 
there a couple of times a month. This is 
not what we mean by a small town. 

The writer has been in a few towns under 
1,000 population, and scores under 5,000 
population, where the projection, sound, 
seating and atmosphere is exactly on a par 
with the largest theatres. The big city the- 
atre has, of course, a much more auspicious 
building, more elaborately appointed, but, 
if "the show's the thing," it's no better than 
the properly outfitted small town. We have 
our Western Electric or RCA sound sys- 
tems, our new type projectors with latest 
arcs, our comfortably upholstered seats, our 
thick carpets, our experienced employees. 
We present first run pictures at approxi- 
mately the same show as the larger cities. 

Presumably farmers bear the greatest 
brunt of the differentia. Why? They go to 
college and play golf now. Possibly, as a 
class more of them like Westerns than any 
other division of patronage; but we find a 
large number of town people who also like 
them. We recall scores of farmers driving 
in to see "The Barretts of Wimpole Street" 
and "David Cooperfield" . . . more than 
the number who make it a point to take in 
Westerns. As a matter of fact, through the 
entirely natural process of educational im- 
provement in both motion picture entertain- 
ment and prospective patrons of this amuse- 
ment, our personal box-office discovery is 
that the time honored Western is in a state 
of prodigious decline. 

"A Hit Is A Hit" 

The very fact that practically all of the 
major distributors await reaction of first 
runs before allocating percentage pictures 
under their contracts is proof that a hit is 
a hit in a big city or small town. A mistake 
or two is made now and then, but the deter- 
mined percentage engagements represent the 
"clickers" with what amounts to monoton- 
ous regularity. Likewise, circuits await the 
reaction of their own key spots before de- 
termining the days of the week on which the 
various subjects will play all subsequent 
runs . . . which far outnumber the keys. 

To our knowledge, the only possible dif- 
ference might be in the case of the ultra- 
high brow picture, where the 8,000 mem- 
bers of the "400" in a big city provide suffi- 
cient prospects that the 40 members in a 
small town cannot provide . . . but these 
are very rare exceptions. After eleven years 
of watching box-offices in large cities and 
eleven years watching them in small towns, 
we say "There are no small towns." 

Make 19 i 5 Yotir Award Year 

Simons" Novel Illusion 

Jack Simons, Poll Theatre, Hartford, 
Conn., is using an illusion effect for "One 
More Spring" that is secured by hanging 
an electric light bulb by a shoestring from 
the top of card (see photo). Light goes on 
and off and keeps 'em guessing. 

Simons' Light Bulb Illusion 



March 9 , 19 3 5 


March 9 , 19 3 5 






"Wilderness Mail" 


Chaplin Prod. No. 5 


"Hot News" 

"Party Wire" 

"Air Fury" 


"Gaucho Lover" 

"It's A Small World" 
"Redheads on Parade" 

"Doubting Thomas" 
"Heaven's Gate" 

"Man Proposes" 

"Secret Lives" 


"Public Opinion" 


"Age of Indiscretion" 

"Order Please" 
"China Seas" 


"The Crusades" 

"People Will Talk" 

"The Glass Key" 


"Becky Sharp" 

"Sylvestre Bonnard" 
"The Informer" 
"Village Tale" 
"Break of Hearts" 

"Cardinal Richelieu" 


"Werewolf of London" 

"Mister Dynamite" 


"A Midsummer Night's 

"Oil for the Lamps of China" 

"The Farrell Case" 
"Alibi Ike" 


Story, James Oliver Curwood. Director: Forrest 

Original screen play, Charles Chaplin. Director: 
Charles Chaplin. 

Original screen play, Anthony Coldewey. Di- 
rector: Lambert Hillyer. 

Original, Bruce Manning, Vera Caspary. Screen 
play, John Howard Lawson, Ethel Hill. Di- 
rector: Erie Kenton. 

Screen play. J. Griflfin Jay, Grace Ncvill. Di- 
rector: Al Rogell. 

From an original, Gordon Morris. Adaptation, 
Ernest Pascal, Bradley King. • Director; 
James Tinling. 

Based on a short story, Albert Treynor. Screen 
play, Gladys Lehman, Sam Hellman. Di- 
rector: Irving Cummings. 

Original story, Gertrude Purcell, Don Hartman, 
Jay Gorney. Screen play, Don Hartman, Rian 
James. Director: Norman McLeod. 

Based on stage play, Geo. Kelly. Adaptation, 
Bartlett Cormack. Director: David Butler. 

From a story, Florence Leighton Pfalzgraf. 

Adaptation, Stephen Avery. Screen play, 
Stephen Avery, Allen Rivkin. Director: John 

Based on story, Sidney Skolsky, Claude Binyon. 
Screen play, Wm. Hurlbutt. Director: Wm. 

From a story, Ilya Zorn. Director: Bruce 

Original screen play, Karen de Wolf. Director: 
Frank Strayer. 

Story, screen play, Leon Gordon. Director: Ed- 
ward Ludwig. 

Stage play, Edward Childs Carpenter. Adapted, 
Frank Davis. Director: Jack Conway. 

Novel, Crosbie Garstin, Adaptation, Jules Furth- 
man. Director: Tay Gamett. 

Screen play, Harold Lamb, Dudley Nichols, 
Waldemar Young. Director: Cecil B. DeMille. 

From original, Sophie Kerr and an original by 
F. Hugh Herbert. Screen play, Herbert Fields. 
Director: Alfred Santell. 

Original, Dashiell Hammett. Screen play, 
Kathryn Scola, Kubec Glasmon. Director: 
Frank Tuttle. 

Play, Langdon Mitchell. From nove'v, "Vanity 
Fair," Wm. Makepeace Thackery. Screen 
play, Francis Edw. Faragoh. Director: Rou- 
ben Mamoulian. 

Novel, "Crime of Sylvestre Bonnard": Anatole 
France. Screen play, Francis Faragoh. Di- 
rector: Geo. Nicholls, Jr. 

Original, Llam O'FIaherty. Screen play, Dudley 
Nichols. Director: John Ford. 

Novel, Phil Stong. Screen play, Allan Scott. 
Director: John Cromwell. 

Story, Lester Cohen. Screen play, Sarah Y. 
Mason, Victor Heerman. Director: Phillip 

Screen play, Nunnally Johnson, Cameron Rogers. 
Director: Rowland Lee. 

Story, Robert Harris. Director: Stuart Walker. 

Story, Dashiell Hammett. Screen play, Harry 
Clork, Doris Malloy. Director: Alan Crosland. 

Wm. Shakespeare's play. Original music by 
Mendelssohn, arranged by Erich Wolfgang 
Komgold. Screen play, Chas. Kenyon, Mary 
McCall, Jr. Directors: Max Reinhardt, Wm. 

From novel, Alice Tisdale Hobart. Screen play, 
Laird Doyle. Director: Mervyn LeRoy. 

Original story, John Fante, Frank Fenton, Sam- 
uel Gilson Brown. Adaptation, screen play, 
Harry Sauber. Director: D. Ross Lederman. 

Story, screen play, Seton I. Miller. 
Wm. Keighley. 


Original story. Ring Lardner. Screen play, Bert 
Kalmar, Harry Ruby. Director: Ray Enright. 


Kermit Maynard, Sid Saylor, Fred Kohler. 

Charles Chaplin, Paulette Goddard, Carter DeHaven, 
Henry Bergman. 

Richard Cromwell, Billie Seward, Wallace Ford, Jack 

lean Arthur, Victor Jory, Clara Blandick, Charlie 
Grapewin, Geneva Mitchell. 

Ralph Bellamy, Tala Birell, Victor Kilian, Billie Seward, 
Douglas Dumbrille. 

Warner Baxter, Ketti Gallian, John Miljan, Artnida, 
J. Carrol Naish, Blanca Vischer, Rita Cansino, Soledad 
Jiminez, George Irving, Jack LaRue. 

Spencer Tracy, Wendy Barrie, Chas. Sellon, Virginia 
Sale, Raymond Walbum, Irving Bacon. 

John Boles, June Knight, Alan Dinehart, Jane Withers, 
Jack Haley, Herman Bing, Wm. Austin, Grant 

Will Rogers, Billie Burke, Alison Skipworth, Sterling 
Holloway, Andrew Tombes, Frances Grant, Gail Pat- 
rick, Frank Albertson. 

Shirley Temple, Joel McCrea, Lyle Talbot, Rosemary 
Ames, Doris Nolan. 

James Dunn, Mae Clarke, Neil Hamilton. 

Mona Barrie, Gilbert Roland. Hardie Albright, Herbert 
Mundin, Nick Foran, Donald Cook. 

Lois Wilson, Crane Wilbur, Shirley Grey, Luis Alberni, 
Andres de Segurola, Florence Roberts, Gertrude 
Sutton, Ronnie Cosbey. 

May Robson, Madge Evans, Ralph Forbes, Shirley Ross, 

Adrian Morris, Una Merkel, Samuel Hinds, Mary Jo 

Matthews, Flush. 
Conrad Nagel, Steffi Duna, Nat Pendleton, Harvey 

Stephens, Louise Henry, Leila Bennett, Franchot 

Tone, Una Merkel. 
Wallace Beery, Clark Gable, Jean Harlow, Dudley 

Digges, Lewis Stone, Charles Butterworth, Robert 


Henry Wilcoxon, Loretta Young, Ian Keith, Alan Hale, 
Pedro de Cordoba, Katherine DeMille, Ramsey Hill, 
C. Henry Gordon, George Barbier, C. Aubrey Sm